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Model: Robin... Body art by Mark Reid.
Location Q-Bar in the Hotel Albuquerque, Albuquerque New Mexico. USA.
© 2010 2018 Photo by Lloyd Thrap Photography
for Halo Media Group
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Bi-Colour, Ha - Red, OIII - Blue and synthesized Green using Noels Astro Tools.
10 x Ha 1x1
9 x OIII 1x1
en.wikipedia.org/wiki/Immaterialism
Subjective idealism, or empirical idealism, is the monistic metaphysical doctrine that only minds and mental contents exist. It entails and is generally identified or associated with immaterialism, the doctrine that material things do not exist.
It is the contrary of eliminative materialism, the doctrine that only material things, and no mental things, exist.
Subjective idealism: This form of idealism is "subjective" not because it denies that there is an objective reality, but because it asserts that this reality is completely dependent upon the minds of the subjects that perceive it.
en.wikipedia.org/wiki/Immanuel_Kant
Kant believed that the concepts of space and time are integral to all human experience, as are our concepts of cause and effect. One important consequence of this view is that one never hasdirect experience of things, the so-called noumenalworld, and that what we do experience is thephenomenal world as conveyed by our senses.
Kant aimed to resolve disputes between empirical andrationalist approaches. The former asserted that all knowledge comes through experience; the latter maintained that reason and innate ideas were prior. Kant argued that experience is purely subjective without first being processed by pure reason. He also said that using reason without applying it to experience only leads to theoretical illusions.
The notion of the "thing in itself" was much discussed by those who came after Kant. It was argued that since the "thing in itself" was unknowable its existence could not simply be assumed. Rather than arbitrarily switching to an account that was ungrounded in anything supposed to be the "real," as did the German Idealists, another group arose to ask how our (presumably reliable) accounts of a coherent and rule-abiding universe were actually grounded. This new kind of philosophy became known as Phenomenology, and its founder was Edmund Husserl.
Kant, however, contests this: he claims that elementary mathematics, like arithmetic, is synthetic a priori, in that its statements provide new knowledge, but knowledge that is not derived from experience. This becomes part of his over-all argument for transcendental idealism. That is, he argues that the possibility of experience depends on certain necessary conditions — which he calls a priori forms — and that these conditions structure and hold true of the world of experience. In so doing, his main claims in the "Transcendental Aesthetic" are that mathematic judgments are synthetic a priori and in addition, that Space and Time are not derived from experience but rather are its preconditions.
Kant asserts that experience is based both upon the perception of external objects and a priori knowledge.[39] The external world, he writes, provides those things that we sense. It is our mind, though, that processes this information about the world and gives it order, allowing us to comprehend it. Our mind supplies the conditions of space and time to experience objects. According to the "transcendental unity of apperception", the concepts of the mind (Understanding) and the perceptions or intuitions that garner information from phenomena (Sensibility) are synthesized by comprehension. Without the concepts, intuitions are nondescript; without the intuitions, concepts are meaningless — thus the famous statement, "Thoughts without content are empty, intuitions without concepts are blind."
Judgments are, for Kant, the preconditions of any thought. Man thinks via judgments, so all possible judgments must be listed and the perceptions connected within them put aside, so as to make it possible to examine the moments when the understanding is engaged in constructing judgments.
Kant ran into a problem with his theory that the mind plays a part in producing objective knowledge. Intuitions and categories are entirely disparate, so how can they interact? Kant's solution is the schema: a priori principles by which the transcendental imagination connects concepts with intuitions through time. All the principles are temporally bound, for if a concept is purely a priori, as the categories are, then they must apply for all times. Hence there are principles such as substance is that which endures through time, and the cause must always be prior to the effect
Transcendental idealism is a doctrine founded by German philosopher Immanuel Kant in the 18th century. Kant's doctrine maintains that human experience of things is similar to the way they appear to us — implying a fundamentally subject-based component, rather than being an activity that directly (and therefore without any obvious causal link) comprehends the things as they are in and of themselves.
Xenophanes of Colophon in 530 BC anticipated Kant's epistemology in his reflections on certainty. "And as for certain truth, no man has seen it, nor will there ever be a man who knows about the gods and about all the things I mention.
Briefly, Schopenhauer described transcendental idealism as a "distinction between the phenomenon and the thing in itself, and a recognition that only the phenomenon is accessible to us because "we do not know either ourselves or things as they are in themselves, but merely as they appear."[4] Some of Schopenhauer's comments on the definition of the word "transcendental" are as follows:
Transcendental is the philosophy that makes us aware of the fact that the first and essential laws of this world that are presented to us are rooted in our brain and are therefore known a priori. It is called transcendental because it goes beyond the whole given phantasmagoria to the origin thereof. Therefore, as I have said, only the Critique of Pure Reason and generally the critical (that is to say, Kantian) philosophy are transcendental.
Realism can also be promoted in an unqualified sense, in which case it asserts the mind-independent existence of a visible world, as opposed to skepticism and solipsism. Philosophers who profess realism state that truth consists in the mind's correspondence to reality.[1]
Realists tend to believe that whatever we believe now is only an approximation of reality and that every new observation brings us closer to understanding reality.[2] In its Kantian sense, realism is contrasted with idealism. In a contemporary sense, realism is contrasted with anti-realism, primarily in the philosophy of science.
Naïve realism[edit]
Naïve realism, also known as direct realism, is a philosophy of mind rooted in a common sense theory of perception that claims that the senses provide us with direct awareness of the external world. In contrast, some forms of idealism assert that no world exists apart from mind-dependent ideas and some forms of skepticism say we cannot trust our senses. The realist view is that objects are composed of matter, occupy space and have properties, such as size, shape, texture, smell, taste and colour, that are usually perceived correctly. We perceive them as they really are. Objects obey the laws of physics and retain all their properties whether or not there is anyone to observe them
Stuckists claim that conceptual art is justified by the work of Marcel Duchamp, but that Duchamp's work is "anti-art by intent and effect". The Stuckists feel that "Duchamp's work was a protest against the stale, unthinking artistic establishment of his day", while "the great (but wholly unintentional) irony of postmodernism is that it is a direct equivalent of the conformist, unoriginal establishment that Duchamp attacked in the first place"
Obscurantism (French: obscurantisme, from the Latin obscurans, "darkening") is the practice of deliberately preventing the facts or the full details of some matter from becoming known. There are two common historical and intellectual denotations to Obscurantism: (1) deliberately restricting knowledge—opposition to the spread of knowledge, a policy of withholding knowledge from the public; and, (2) deliberate obscurity—an abstruse style (as in literature and art) characterized by deliberate vagueness.
Model: Chelsea Rae Gray
On modelshopstudio™'s profile
On Lloyd Thrap Creative Photography's profile
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Details best viewed in Original Size
According to Wikipedia, the Sultan Ahmed Mosque (more commonly known as The Blue Mosque for the blue tiles adorning its interior walls) was built from 1609 to 1616, during the rule of Ahmed I and although it is still popularly used as a mosque, it is also a popular tourist attraction. The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman Mosque development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque (also included in this set). The court is about as large as the mosque itself, is surrounded by a continuous vaulted arcade and has a central hexagonal fountain which is small relative to the courtyard. The Hippodrome is park-like area separating the Hagia Sophia and the Blue Mosque.
Lloyd Thrap Creative Photography
April 26 · Edited
At modelshopstudio™ — with Suhail Rodriguez at modelshopstudio™. Location: modelshopstudio™
Albuquerque, New Mexico. USA
© 2014 2021 Photo by Lloyd Thrap Photography for modelshopstudio™
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Meghan Duncan - Photography by: Alex Gonzalez of VPXSPORTS.COM
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Model: Shangri-L.A.™
MUA: Jennifer Clark.
© 2009 2023 Photo by Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
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I love the structure of this leaf and the light coming through the top exposing the veins.
Nature never ceases to amaze me.
Leaf-
Leaves are the most important organs of most vascular plants. Since plants are autotrophic, they do not need food from other living things to survive but instead use carbon dioxide, water and light energy, to create their own organic matter by photosynthesis of simple sugars, such as glucose and sucrose.
These are then further processed by chemical synthesis into more complex organic molecules such as cellulose, the basic structural material in plant cell walls.
The plant must, therefore, bring these three ingredients together in the leaf for photosynthesis to take place. The leaves draw water from the ground in the transpiration stream through a vascular conducting system known as xylem and obtain carbon dioxide from the atmosphere by diffusion through openings called stomata in the outer covering layer of the leaf (epidermis), while leaves are orientated to maximise their exposure to sunlight.
Once the sugar has been synthesized, it needs to be transported to areas of active growth such as the plant shoots and roots. Vascular plants transport sucrose in a special tissue called the phloem. The phloem and xylem are parallel to each other but the transport of materials is usually in opposite directions. Within the leaf these vascular systems branch (ramify) to form veins which supply as much as the leaf as possible, ensuring that cells carrying out photosynthesis are close to the transportation system.
Typically leaves are broad, flat and thin (dorsiventrally flattened), thereby maximising the surface area directly exposed to light and enabling the light to penetrate the tissues and reach the chloroplasts, thus promoting photosynthesis.
They are arranged on the plant so as to expose their surfaces to light as efficiently as possible without shading each other, but there are many exceptions and complications. For instance, plants adapted to windy conditions may have pendent leaves, such as in many willows and eucalyptus. The flat, or laminar, shape also maximises thermal contact with the surrounding air, promoting cooling. Functionally, in addition to photosynthesis, the leaf is the principal site of transpiration and guttation.
Many gymnosperms have thin needle-like or scale-like leaves that can be advantageous in cold climates with frequent snow and frost.
These are interpreted as reduced from megaphyllous leaves of their Devonian ancestors.
Some leaf forms are adapted to modulate the amount of light they absorb to avoid or mitigate excessive heat, ultraviolet damage, or desiccation, or to sacrifice light-absorption efficiency in favour of protection from herbivory.
For xerophytes the major constraint is not light flux or intensity, but drought.
Some window plants such as Fenestraria species and some Haworthia species such as Haworthia tesselata and Haworthia truncata are examples of xerophytes.and Bulbine mesembryanthemoides.
Leaves also function to store chemical energy and water (especially in succulents) and may become specialised organs serving other functions, such as tendrils of peas and other legumes, the protective spines of cacti and the insect traps in carnivorous plants such as Nepenthes and Sarracenia.
Leaves are the fundamental structural units from which cones are constructed in gymnosperms (each cone scale is a modified megaphyll leaf known as a sporophyll)
and from which flowers are constructed in flowering plants.
Vein skeleton of a leaf. Veins contain lignin that makes them harder to degrade for microorganisms.
The internal organisation of most kinds of leaves has evolved to maximise exposure of the photosynthetic organelles, the chloroplasts, to light and to increase the absorption of carbon dioxide while at the same time controlling water loss. Their surfaces are waterproofed by the plant cuticle and gas exchange between the mesophyll cells and the atmosphere is controlled by minute openings called stomata, about 10 μm which open or close to regulate the rate exchange of carbon dioxide, oxygen, and water vapour into and out of the internal intercellular space system.
Stomatal opening is controlled by the turgor pressure in a pair of guard cells that surround the stomatal aperture. In any square centimetre of a plant leaf, there may be from 1,000 to 100,000 stomata.
Near the ground, these Eucalyptus saplings have juvenile dorsiventral foliage from the previous year, but this season their newly sprouting foliage is isobilateral, like the mature foliage on the adult trees above
The shape and structure of leaves vary considerably from species to species of plant, depending largely on their adaptation to climate and available light, but also to other factors such as grazing animals (such as deer), available nutrients, and ecological competition from other plants.
Considerable changes in leaf type occur within species too, for example as a plant matures; as a case in point Eucalyptus species commonly have isobilateral, pendent leaves when mature and dominating their neighbours; however, such trees tend to have erect or horizontal dorsiventral leaves as seedlings, when their growth is limited by the available light.
Other factors include the need to balance water loss at high temperature and low humidity against the need to absorb atmospheric carbon dioxide. In most plants leaves also are the primary organs responsible for transpiration and guttation (beads of fluid forming at leaf margins).
Leaves can also store food and water and are modified accordingly to meet these functions, for example in the leaves of succulent plants and in bulb scales. The concentration of photosynthetic structures in leaves requires that they be richer in protein, minerals, and sugars than, say, woody stem tissues. Accordingly, leaves are prominent in the diet of many animals.
A leaf shed in autumn.
Correspondingly, leaves represent a heavy investment on the part of the plants bearing them, and their retention or disposition is the subject of elaborate strategies for dealing with pest pressures, seasonal conditions, and protective measures such as the growth of thorns and the production of phytoliths, lignins, tannins and poisons.
Deciduous plants in frigid or cold temperate regions typically shed their leaves in autumn, whereas in areas with a severe dry season, some plants may shed their leaves until the dry season ends. In either case, the shed leaves may be expected to contribute their retained nutrients to the soil where they fall.
In contrast, many other non-seasonal plants, such as palms and conifers, retain their leaves for long periods; Welwitschia retains its two main leaves throughout a lifetime that may exceed a thousand years.
The leaf-like organs of Bryophytes (e.g., mosses and liverworts), known as psyllids, differ morphologically from the leaves of vascular plants in that they lack vascular tissue, are usually only a single cell thick and have no cuticle stomata or internal system of intercellular spaces.
Simple, vascularised leaves (microphylls) first evolved as enations, extensions of the stem, in clubmosses such as Baragwanathia during the Silurian period. True leaves or euphylls of larger size and with more complex venation did not become widespread in other groups until the Devonian period, by which time the carbon dioxide concentration in the atmosphere had dropped significantly.
This occurred independently in several separate lineages of vascular plants, in progymnosperms like Archaeopteris, in Sphenopsida, ferns and later in the gymnosperms and angiosperms. Euphylls are also referred to as macrophylls or megaphylls (large leaves).
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Model: shangri-L.A.™
model shop studio
© 2009 2018 Photo by Lloyd Thrap Photography for Halo Media Group
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Palacio de Aguirre, Cartagena (Murcia), Spain
Built: 1898–1901
Architect: Víctor Beltrí (1862-1935)
Client: Camilo Aguirre, industrialist and newspaper proprietor
This opulent residence stands as a jewel of Cartagena’s late 19th-century bourgeois expansion, marrying Neo-Baroque monumentality with eclectic ornamental sophistication.
Commissioned by Camilo Aguirre, a wealthy entrepreneur whose fortune was rooted in the region’s mining boom and media influence, the palace functioned as both a family home and an architectural assertion of modern taste, cultural literacy, and upward mobility.
About Cartagena
In 1901, Cartagena was a city of strategic and symbolic importance in Spain—a historic naval stronghold undergoing a period of intense economic and urban renewal. Situated on the southeastern coast, it had long been home to the country’s principal Mediterranean naval base and shipyards.
By the turn of the 20th century, Cartagena was also at the center of a mining and industrial boom, driven by the extraction of silver, lead, and zinc from the nearby Sierra Minera. This influx of capital gave rise to a new class of bourgeois entrepreneurs, financiers, and professionals who sought to remake the city in their image: modern, cultured, and prosperous.
The construction of the Palacio de Aguirre in this context signals not only the personal ambition of its patron, Camilo Aguirre, but also the aspirations of a city eager to assert its place in the modern Spanish nation—as both a military bulwark and a symbol of civic progress, blending classical heritage with contemporary style.
Listed Status
The Palacio de Aguirre is officially designated as a Bien de Interés Cultural in the category of Monumento (Monument), which is the highest level of heritage protection in Spain. This status protects both its architectural integrity and decorative elements, including its polychrome tilework, sculptural ornamentation, and historic fabric.
Additionally, the building forms part of the Museo Regional de Arte Moderno (MURAM) and has been incorporated into the city's cultural and tourism infrastructure, further reinforcing its protected status.
🎨 Style: Historicist Eclecticism meets the Aesthetic Movement
The building synthesizes a rich variety of historicist vocabularies, from Baroque and Renaissance revival to the Aesthetic and Eastlake movements then circulating through European design discourse. Its intricate surface program reveals Beltrí’s fluency with:
•Arts & Crafts and Eastlake linearity, evident in the rhythmic scrolls, plant forms, and stylized beasts
•Spanish and Italian Baroque massing (note the heavily bracketed cornices and ornamental cresting)
•Renaissance grotesque motifs, especially in the ceramic panels
Ceramic Iconography: Pleasure, Labor, and Moral Complexity
A highlight of the façade is the vibrant polychrome tile frieze, where putti harvest grapes amid thistles and symbolic flora. This program draws directly on Roman and Renaissance precedents:
•The grape harvest invokes Bacchic fertility, but here labor is emphasized—putti are not frolicking but toiling, echoing bourgeois work ethic.
•The thistle, beneath soft flesh and ripe fruit, injects emotional and symbolic tension: a reminder of the pain beneath pleasure, or the hard reality beneath surface delight.
•Elsewhere, a putto presents a green parrot perched on a ring—a scene of exotic domesticity, but also allegory: a tamed, mimicking creature symbolizing artifice, desire, and aestheticized nature.
🐉 Scrollwork Beasts and Decorative Lineage
Surrounding these scenes, ceramic panels display scroll-and-beast motifs—hybrid zoomorphic forms emerging from foliage. These derive from:
•Roman grotesque wall painting, filtered through Renaissance revival and 19th-century pattern books.
•Possibly influenced by Moorish ornamental flattening or Japoniste abstraction, part of the wider Aesthetic Movement.
These “botanicomorphic” beasts, unreal by design, assert cultivated imagination—a hallmark of both imperial Rome and modern elite culture. Their presence signals control over the fantastical, a visual assertion of taste, intellect, and privilege.
🐝 Architectural Allegory in Relief and Iron
On the tower, relief bees and stylized botanical panels add another symbolic layer. The bee—a classical emblem of industry, order, and fertility—underscores the patron’s narrative: this is a house of productive labor, refined taste, and civilizing aspiration. Even the wrought iron balcony grilles echo Eastlake wood carving in their intricate scrollwork—nature made geometric, ornament made discipline.
A mixed-use building from the outset:
✔️ Primary Use: Family Residence
The upper floors, particularly the ornate corner rooms and formal salon spaces, were undoubtedly intended as private domestic quarters for the Aguirre family.
The architectural richness—putti, allegorical tiles, wrought iron balconies, and symbolic reliefs—aligns with the bourgeois ideal of the cultivated home, a stage for displaying wealth, refinement, and cultural legitimacy.
✔️ Secondary Use: Business and Social Functions
Camilo Aguirre was more than a rentier—he was an entrepreneur, linked to the regional press, mining interests, and finance.
Like many Spanish industrialist homes of the period, it is plausible that the ground floor or a lateral wing housed offices related to:
Aguirre’s publishing ventures (possibly editorial or administrative spaces)
Business meeting rooms for investment partnerships or civic involvement
Such arrangements were typical of urban palacetes—blending domestic life and elite professional activity in one structure.
Supporting Clues from the Architecture
The arched main door and grander-than-domestic vestibule suggest semi-public or business-related access.
The vertical zoning—more decorative and symbolic elements concentrated on upper façades—often marked a distinction between public-facing lower floors and private upper floors.
️ Afterlife: From Private Palace to Public Use
By the mid-20th century, the palace had ceased to function as a private residence.
It now houses the Museo Regional de Arte Moderno de Cartagena (MURAM)—a fitting reuse that continues the building’s role as a showcase of cultural aspiration.
Final Note
The Palacio de Aguirre is not just eclectic—it is encoded. It offers a narrative façade, in which labor and luxury, sensuality and discipline, mythology and modernity are layered into its ornament. Whether or not Camilo Aguirre grasped every classical or mythic reference, he certainly intended to project cultural legitimacy, moral rectitude, and aesthetic modernity—the values of a man made in the age of industry, but longing to be remembered in the idiom of empire.
About the Architect
Víctor Beltrí (1862–1935) was a prolific and versatile architect who played a transformative role in shaping Cartagena’s architectural identity during its late 19th- and early 20th-century boom. A Catalan by birth and trained in Barcelona, Beltrí brought to Murcia a refined blend of eclectic historicism, Modernisme, and regionalist idioms, applying them across public, religious, and residential buildings.
Here are some of his most notable surviving works, nearly all in Cartagena:
️ Casa Cervantes (1900–1901)
•One of his earliest major commissions in Cartagena, built for the industrialist José María Cervantes.
•Strongly eclectic, with Neo-Baroque and Neo-Renaissance features.
•Known for its decorative stuccowork, ironwork balconies, and elegant symmetry.
🏫 Casa Llagostera (1916)
•A more Modernista work, distinguished by elaborate ceramic tile panels and stylized floral motifs.
•Famous for its ceramic depictions of Cervantine characters (Don Quixote and Sancho Panza), referencing the owner’s name.
🏨 Grand Hotel of Cartagena (1907)
•Perhaps Beltrí’s most iconic secular work.
•A true Modernista showpiece, with a curved corner façade, domed turret, lavish iron balconies, and Art Nouveau ornament.
•Its exuberant decorative program and urban prominence make it one of Cartagena’s architectural landmarks.
⛪ Iglesia de la Caridad (restoration and dome, early 20th c.)
•Beltrí contributed to the renovation of this Baroque church, particularly the dome and lateral chapels.
•The church is the spiritual heart of Cartagena, housing the patron saint Nuestra Señora de la Caridad.
🏫 Casa Clares (1905)
•Residential and commercial building with wrought iron balconies, stucco ornament, and a carefully proportioned façade.
•A good example of Beltrí’s ability to adapt ornamental richness to smaller-scale urban commissions.
️ Casino de Cartagena (remodeling, early 20th century)
•Beltrí was responsible for major interior renovations to this 19th-century social club.
•He introduced Neo-Mudejar elements, stained glass, and eclectic interiors that blend orientalist fantasy with bourgeois refinement.
🏥 Hospital de la Caridad Expansion
•Beltrí also worked on institutional architecture, contributing to the expansion of Cartagena’s medical infrastructure.
Summary of Beltrí’s Significance
Beltrí’s legacy lies in his stylistic range: from strict academic revivalism (as in the Palacio de Aguirre) to Art Nouveau experimentation, always tailored to his patrons’ ambitions. His buildings remain among the most photographed and best-preserved examples of Cartagena’s golden age architecture.
This text is a collaboration with Chat GPT
Crossed-eyes 3D (stereoscopic) viewing: View the two photos cross-eyed until a third image appears in the middle, which will be in stereo 3D. The brain nicely synthesizes a composite image with realistic depth and sharpness. Then put your two hands in front of your face to cover the photos on the left and right so only the middle one remains in your sight.
Some people build careers. Others build bridges. DJ Patil does both. He is one of those rare individuals who move seamlessly between worlds—tech and government, science and storytelling, logic and intuition. I’ve known DJ for over a decade and have photographed him countless times. One particular image comes to mind: a windswept walk along the dunes of Fort Funston, the Pacific crashing below, the light shifting by the second. DJ, as always, was in motion—both physically and mentally.
Most know him as the pioneering data scientist who shaped the role of Chief Data Scientist for the United States under President Obama. His work wasn’t just about numbers; it was about people—using data to improve healthcare, criminal justice, and national security. He’s a mathematician by training, a strategist by experience, and, at his core, a problem-solver who sees patterns where others see chaos.
But numbers only tell part of his story. There’s a warmth to DJ that’s rare in the corridors of power and influence. He has a big heart, always willing to help—whether advising a fledgling entrepreneur, tackling an intractable policy issue, or simply offering a kind word. Conversations with him are an exploration, full of unexpected detours and insights. He listens as much as he speaks, a trait that makes him both a great collaborator and a formidable thinker.
Lately, he’s added another skill to his arsenal: photography. What began as curiosity has become an art, a way of seeing the world beyond data and algorithms. He approaches photography as he does everything else—with intention, precision, and an openness to discovery. The eye of the scientist meets the soul of the artist.
It’s easy to list DJ’s accomplishments—his leadership in Silicon Valley, his work shaping national policy, his role in defining what modern data science could be. But what truly sets him apart is something deeper: his ability to connect, to synthesize, to humanize the abstract. In an age where technology often feels impersonal, DJ reminds us that at the heart of every data point is a human being.
And that may be his greatest talent of all.
The new costume feels weird.
Then again, they always do.
I suppose anything’s going to feel weird when compared to my other suit, especially when you consider that I’ve worn that suit for countless years at this point. Still, as you’d imagine Lucius has outdone himself on this new suit. From what Bruce tells me, Lucius used the current Batsuit as the template when constructing it before making all the suitable adjustments to make it more in line with my style. On the outside, the differences are small and only slightly different cosmetically from the previous suit, but the improvement in armour plating is one of the first things I notice. Evidently, its designed to be able to take a blow from a katana.
Just whether or not it’d be able to take more than one is something I’ll hopefully not have to find out. The second major difference is the vambraces on my arms, they’ve been reconfigured to include various electrical components as oppose to just padding beneath the metal covering. According to Lucius, this should mean I can interface with most electrical systems in the field myself rather than requiring support from the Batcomputer. Probably not something many people would appreciate, but if you had experienced the pain of waiting for Alfred to break an encryption as much as I have, you’d consider this upgrade the greatest thing since sliced bread.
I certainly do.
Beyond those two major improvements, there isn’t much new on the suit besides a slightly reworked utility belt, making it lighter and also allowing myself to carry twice the capacity of my previous belt. No doubt it will be essential tonight. Especially now that Ra’s has made his first move.
A gas attack, slowly enveloping all of Gotham.
From what the satellite network can make out, the gas is being pumped out of four towers at different corners of the city, and the whole city will be covered in less than two hours unless we stop it.
Dick: This….this is horrible….
Scarlett: Do you think any of the national guard managed to make it to safety?
Jason: I don’t know Scarlett. I really don’t know.
Tim: Do we know just what’s in this gas?
Bruce: Alfred and Lucius are still working to analyse the gas and synthesize a neutralising agent.
Roy: This isn’t right. What sort of monster gases people without a second thought?
Barbra: One who believes himself above all others. A man who thinks it his right to decide who deserves to live, and who deserves to die.
Bruce: This cannot be allowed to continue.
Dick: What are you suggesting?
Bruce: The gas is toxic if inhaled, but the tests that have already been performed show it is unable to corrode a gas mask and rebreather.
Tim: You’re saying we go out there and try to shut the towers down ourselves?
Bruce: Without a neutralising agent, there is little more we can do than simply prevent the gas from covering all of Gotham at present. We must ensure that the gas is not able to make it towards the GCPD or Gotham General.
Scarlett: But what about the soldiers? How do we help them?
Bruce says nothing. Simply turning away and looking towards the main monitor.
Roy: You’re just going to ignore them? Leave them to die?
Bruce: They’ll all die anyway if we don’t stop this gas from covering all of Gotham.
Scarlett: They’re innocent in all this! This whole attack is only happening because of you! We have to save them!
Jason: Scarlett…
Bruce: We have to prioritise. Say we’re successful, say we save what? Ten of them? How do you then justify saving ten of them and dooming the hundred or so police officers in the GCPD to death? How do you justify to Barbra that her father died needlessly because you chose saving one man over an entire city? How do you justify to Tim that his friend died in Gotham General because you let your emotions overrule your head?
I feared that this would come. Bruce would feel it necessary to put both Scarlett and Roy in line to ensure he can rely upon them. They are after all, the only rogue element in this team. The only ones Bruce didn’t have at least some input in with how they were trained. Personally, I’m not too worried about them. Jason trusts them, and that’s good enough for me. But Bruce needs to be certain, and he’s completely right to want to be. We’ll be heavily outnumbered out there, so it’s critical that we’re effective and efficient.
They have the numbers.
We need to have the skill. It’s the only way we stand a chance of winning.
Roy: Ollie would try to save them.
Bruce: I’m no Oliver Queen.
Roy: That’s for sure.
Dick: Thank goodness.
Not really the time to try and lighten up the mood, Dick.
Bruce: Given that the towers cover all four corners of Gotham, we’ll have to divide our forces in order to neutralise them simultaneously.
Barbra: So we split up into teams? Who goes with who?
Bruce: Barbra, you and Dick take the east tower.
Dick: The one closest to GCPD?
Barbra: We’re on it.
Bruce: Jason, you and the Outlaws will take the southern tower.
Wait, what? He’s having both Scarlet and Roy go with Jason? I was certain he’d pair me up with Roy.
Jason: Roger.
Roy: Wait, how the hell are we supposed to stop those towers anyways?
Bruce: Alfred will be feeding us all live information including the tower’s schematics when we arrive.
Dick: Good old Alfred.
Tim: So which tower does that leave me with? North or west?
Bruce: You and Talia will take the western tower.
Tim: Talia?
Why’s he sending Talia with me? If anything it makes far more sense to pair me up with one of the Outlaws and Talia go with him, that way everyone has someone there to cover their back.
Bruce: She’s a skilled combatant. We’d be foolish not to make use of her help.
Tim: Then why’s she going with me and not you?
Bruce: I need someone I can trust to keep an eye on her.
Tim: You don’t trust yourself?
Bruce: Not unless it’s necessary.
Talia: He’s always been like that, I’m afraid.
That’s….not really surprising. But it’s still kind of worrying.
Dick: You don’t need to tell any of us that, we’ve had to live with it.
Jason: Wait, it doesn’t make sense that three of us are going to the southern tower but you’re going alone to the northern tower. Doesn’t it make more sense for Roy to go with Tim and Talia go with you?
My thoughts exactly.
Bruce: I’ll be fine. I have the sword.
Scarlett: What sword?
Tim: You know how every member in the League has a chemical in their body that gives them an unnatural healing factor? He's got a magical sword that neutralises it.
Dick: Then why haven’t you tried giving all of us one of those swords!?
Bruce: Because I had to do a deal with Hephaestus, and he would only forge me one blade.
Roy: That’s why you had us retrieve that stuff from Greene’s mansion.
Bruce: That was only intended as a contingency for this very scenario. The blade was the product of desperation.
Barbra: What did you have to promise him in return for it?
Bruce: Far too much.
Before Bruce has a chance to say just what it was he promised Hephaestus, an alert appears on the monitor. The gas cloud is beginning to move further into the city.
Bruce: Suit up.
———————————————-
Thirty Minutes Later…
By the time Talia and I make it to the western tower, Dick and Barbra have made it to the eastern tower and the Outlaws are waiting for Alfred’s signal to assault the southern tower.
Red Robin: Pen-7, this is West team. We’re in position.
Alfred: Roger West team. I’m waiting on the signal from the North team.
Talia: Do we really have to call him a team if he’s just one person?
Red Robin: It’s protocol, designed to confuse the enemy incase they’re listening in on our communications.
Talia: Has anyone ever managed to?
Red Robin: No, not yet but….
Talia: Then we can ditch the protocol. Let’s not make things more unnecessarily complicated than they need to be.
Red Robin: Alfred, we’re waiting on your signal.
Alfred: Standby….
Talia and I both look down onto the street in front of the tower, four dead bodies. All members of the national guard. None of them have any visible wounds so they clearly died from exposure to the gas. Poor guys. They probably didn’t have any idea what was going on before it was too late.
Talia: This is what I hoped to prevent.
Red Robin: Sorry?
Talia: All this bloodshed, Bruce and my father on opposite sides of this. I should have done more to stop it.
Red Robin: Maybe you couldn’t.
Talia: But maybe I could have. Part of me still wonders what might have happened if I’d managed to talk my father out of trying to put Bruce through the final trial. Or if I’d managed to convince Bruce to stay…..
Red Robin: Then the world would be a darker place.
Talia: How can you be sure about that? Especially with all that’s transpiring?
Red Robin: I can’t be. No-one can truly know whether or not the world would have been a better place if something went a better way. Sure a lot of bad things have happened which led to this moment, but do you know what also happened? A lot of great moments as well. Don’t believe me? Look at Dick. Look at Jason. Look at all of us. We’d all be nothing if Bruce hadn’t touched out lives, and if anything about Bruce has told me is true. He’d have been nothing without you.
For a brief moment, Talia says nothing. I think she’s smiling, but I can’t be certain. It’s difficult to tell what expression she has on her face with the rebreather covering half of it.
Talia: Just what has he been telling you about me?
Red Robin: Well err…you know….just…ummm…..stuff ya know….like umm….how you trained him and….other stuff.
Talia: What kind of other stuff?
Her tone of voice as she asks that question is incredibly discomforting. Worse still, I think I have some ides of just what it is she’s curious about. Thankfully, before I have to attempt to answer that question, a miracle arrives.
Alfred: Pen-7 to all strike teams. Mission is a go!
Immediately, before Talia can repeat her question, I race towards the roof ledge before jumping off towards the tower.
Red Robin: Come on Talia, we’ve got a job to do.
Praise be the alien overlords on high with synthesized musical ovation!
Tomasina is probably my favorite band at Tomorrowland Terrace and on this evening, their keytar player put on quite a performance!
The great tit (Parus major) is a passerine bird in the tit family Paridae. It is a widespread and common species throughout Europe, the Middle East, Central Asia and east across the Palearctic to the Amur River, south to parts of North Africa where it is generally resident in any sort of woodland; most great tits do not migrate except in extremely harsh winters. Until 2005 this species was lumped with numerous other subspecies. DNA studies have shown these other subspecies to be distinctive from the great tit and these have now been separated as two distinct species, the cinereous tit of southern Asia, and the Japanese tit of East Asia. The great tit remains the most widespread species in the genus Parus.
The great tit is a distinctive bird with a black head and neck, prominent white cheeks, olive upperparts and yellow underparts, with some variation amongst the numerous subspecies. It is predominantly insectivorous in the summer, but will consume a wider range of food items in the winter months, including small hibernating bats.[2] Like all tits it is a cavity nester, usually nesting in a hole in a tree. The female lays around 12 eggs and incubates them alone, although both parents raise the chicks. In most years the pair will raise two broods. The nests may be raided by woodpeckers, squirrels and weasels and infested with fleas, and adults may be hunted by sparrowhawks. The great tit has adapted well to human changes in the environment and is a common and familiar bird in urban parks and gardens. The great tit is also an important study species in ornithology.
The great tit is large for a tit at 12.5 to 14.0 cm (4.9–5.5 in) in length, and has a distinctive appearance that makes it easy to recognize. The nominate race P. major major has a bluish-black crown, black neck, throat, bib and head, and white cheeks and ear coverts. The breast is bright lemon-yellow and there is a broad black mid-line stripe running from the bib to vent. There is a dull white spot on the neck turning to greenish yellow on the upper nape. The rest of the nape and back are green tinged with olive. The wing-coverts are green, the rest of the wing is bluish-grey with a white wing-bar. The tail is bluish grey with white outer tips. The plumage of the female is similar to that of the male except that the colors are overall duller; the bib is less intensely black, as is the line running down the belly, which is also narrower and sometimes broken.[15] Young birds are like the female, except that they have dull olive-brown napes and necks, grayish rumps, and greyer tails, with less defined white tips.
The color of the male bird's breast has been shown to correlate with stronger sperm, and is one way that the male demonstrates his reproductive superiority to females. Higher levels of carotenoid increase the intensity of the yellow of the breast its color, and also enable the sperm to better withstand the onslaught of free radicals. Carotenoids cannot be synthesized by the bird and have to be obtained from food, so a bright color in a male demonstrates his ability to obtain good nutrition. However, the saturation of the yellow color is also influenced by environmental factors, such as weather conditions. The width of the male's ventral stripe, which varies with individual, is selected for by females, with higher quality females apparently selecting males with wider stripes.
The great tit is, like other tits, a vocal bird, and has up to 40 types of calls and songs. The calls are generally the same between the sexes, but the male is much more vocal and the female rarely calls. Soft single notes such as "pit", "spick", or "chit" are used as contact calls. A loud "tink" is used by adult males as an alarm or in territorial disputes. One of the most familiar is a "teacher, teacher", often likened to a squeaky wheelbarrow wheel, which is used in proclaiming ownership of a territory. In former times, English folk considered the "saw-sharpening" call to be a foretelling of rain.[19] There is little geographic variation in calls, but tits from the two south Asian groups recently split from the great tit do not recognize or react to the calls of the temperate great tits.
One explanation for the great tit's wide repertoire is the Beau Geste hypothesis. The eponymous hero of the novel propped dead soldiers against the battlements to give the impression that his fort was better defended than was really the case. Similarly, the multiplicity of calls gives the impression that the tit's territory is more densely occupied than it actually is. Whether the theory is correct or not, those birds with large vocabularies are socially dominant and breed more successfully.
The great tit has a wide distribution across much of Eurasia. It can be found across all of Europe except for Iceland and northern Scandinavia, including numerous Mediterranean islands. In North Africa it lives in Morocco, Algeria and Tunisia. It also occurs across the Middle East, and parts of Central Asia from northern Iran and Afghanistan to Mongolia, as well as across northern Asia from the Urals as far east as northern China and the Amur Valley.
The great tit occupies a range of habitats. It is most commonly found in open deciduous woodland, mixed forests, forest edges and gardens. In dense forests, including conifer forests it prefers forest clearings. In northern Siberia it lives in boreal taiga. In North Africa it rather resides in oak forests as well as stands of Atlas cedar and even palm groves. In the east of its range in Siberia, Mongolia and China it favours riverine willow and birch forest. Riverine woodlands of willows, poplars are among the habitats of the Turkestan subspecies, as well as low scrubland, oases; at higher altitudes it occupies habitats ranging from dense deciduous and coniferous forests to open areas with scattered trees.
The great tit is generally not migratory. Pairs will usually remain near or in their territory year round, even in the northern parts of their range. Young birds will disperse from their parents' territory, but usually not far. Populations may become irruptive in poor or harsh winters, meaning that groups of up to a thousand birds may unpredictably move from northern Europe to the Baltic and also to Netherlands, Britain, even as far as the southern Balkans.
The great tit was unsuccessfully introduced into the United States; birds were set free near Cincinnati, Ohio between 1872 and 1874 but failed to become established. Suggestions that they were an excellent control measure for codling moths nearly led to their introduction to some new areas particularly in the United States of America, however this plan was not implemented. Birds were later introduced to the Almaty Province in what is now Kazakhstan in 1960–61 and became established, although their present status is unclear.[
For more information, please visit en.wikipedia.org/wiki/Great_tit
Global color mosaic of Triton, taken in 1989 by Voyager 2 during its flyby of the Neptune system. Color was synthesized by combining high- resolution images taken through orange, violet, and ultraviolet filters; these images were displayed as red, green, and blue images and combined to create this color version. With a radius of 1,350 (839 mi), about 22% smaller than Earth's moon, Triton is by far the largest satellite of Neptune. It is one of only three objects in the Solar System known to have a nitrogen-dominated atmosphere (the others are Earth and Saturn's giant moon, Titan). Triton has the coldest surface known anywhere in the Solar System (38 K, about -391 degrees Farenheit); it is so cold that most of Triton's nitrogen is condensed as frost, making it the only satellite in the Solar System known to have a surface made mainly of nitrogen ice. The pinkish deposits constitute a vast south polar cap believed to contain methane ice, which would have reacted under sunlight to form pink or red compounds. The dark streaks overlying these pink ices are believed to be an icy and perhaps carbonaceous dust deposited from huge geyser-like plumes, some of which were found to be active during the Voyager 2 flyby. The bluish-green band visible in this image extends all the way around Triton near the equator; it may consist of relatively fresh nitrogen frost deposits. The greenish areas include what is called the cataloupe terrain, whose origin is unknown, and a set of "cryovolcanic" landscapes apparently produced by icy-cold liquids (now frozen) erupted from Triton's interior.
Credit: NASA/JPL/USGS
Image Number: PIA00317
Date: August 1989
Model: Melanie Armijo,
cover model for the fall/winter ZipperABQ.
Hair & Makeup by: Jodie Darrel-Salazar.
© 2010 2024 Lloyd Thrap Photography for Halo Media Group
Lloyd-Thrap-Creative-Photography
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No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
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Lloyd Thrap modelshopstudio™.
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All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
The recognizable profile of the Pelican Nebula soars nearly 2,000 light-years away in the high flying constellation Cygnus, the Swan. Also known as IC 5070, this interstellar cloud of gas and dust is appropriately found just off the "east coast" of the North America Nebula (NGC 7000), another surprisingly familiar looking emission nebula in Cygnus. Both Pelican and North America nebulae are part of the same large and complex star forming region, almost as nearby as the better-known Orion Nebula. From our vantage point, dark dust clouds (upper left) help define the Pelican's eye and long bill, while a bright front of ionized gas suggests the curved shape of the head and neck. This striking synthesized color view utilizes narrowband image data recording the emission of hydrogen and oxygen atoms in the cosmic cloud. The scene spans some 30 light-years at the estimated distance of the Pelican Nebula. via NASA ift.tt/2frkU7N
Exposition "Facing time" Félicien Rops/Jan Fabre, Namur, Belgium
Ce magnifique édifice baroque du XVIIe siècle, où Rops emmena Charles Baudelaire en 1864, accueille trois scarabées sacrés, qui, comme nuls autres, franchissent le temps. Sculptures en bronze de Fabre, issues de la série Chalcosoma (2006-2012), et synthétisant ainsi la «rencontre» entre les trois artistes.
This beautiful Baroque church of the seventeenth century, where Rops took Charles Baudelaire in 1864, hosts three sacred beetles, which, like none other, cross time. Bronze sculptures Fabre from the Chalcosoma series (2006-2012), and synthesizing and the "encounter" between the three artists.
Model: Sarah Montano.
Location: Q-BAR Ultra Lounge, Albuquerque, New Mexico. USA
Lloyd-Thrap-Creative-Photography
Shot during the 9th Art of Fashion show.
© 2009 2025 Photo by Lloyd Thrap Photography for Halo Media Group
All works subject to applicable copyright laws. This intellectual property MAY NOT BE DOWNLOADED except by normal viewing process of the browser. The intellectual property may not be copied to another computer, transmitted , published, reproduced, stored, manipulated, projected, or altered in any way, including without limitation any digitization or synthesizing of the images, alone or with any other material, by use of computer or other electronic means or any other method or means now or hereafter known, without the written permission of Lloyd Thrap and payment of a fee or arrangement thereof.
No images are within Public Domain. Use of any image as the basis for another photographic concept or illustration is a violation of copyright.
Details best viewed in Original Size.
According to Wikipedia, the Sultan Ahmed Mosque (more commonly known as The Blue Mosque for the blue tiles adorning its interior walls) was built from 1609 to 1616, during the rule of Ahmed I and although it is still popularly used as a mosque, it is also a popular tourist attraction. The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman Mosque development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque (also included in this set). The court is about as large as the mosque itself, is surrounded by a continuous vaulted arcade and has a central hexagonal fountain which is small relative to the courtyard.
Visiting St Machars Cathedral today 12/5/2018, I noticed this beautiful Blossom Tree dominating the centre of the grave yard in amongst graves dating back hundreds of years , made me think life still goes on, no matter who has passed away, rank, position, fame , recognition, money etc does not matter, when its our time to fall asleep , the world will still turn and life will go on, forever.
Resurrection
Resurrection is the concept of coming back to life after death. In a number of ancient religions, a dying-and-rising god is a deity which dies and resurrects. The death and resurrection of Jesus, an example of resurrection, is the central focus of Christianity.
As a religious concept, it is used in two distinct respects: a belief in the resurrection of individual souls that is current and ongoing (Christian idealism, realized eschatology), or else a belief in a singular resurrection of the dead at the end of the world. The resurrection of the dead is a standard eschatological belief in the Abrahamic religions.
Some believe the soul is the actual vehicle by which people are resurrected.
Christian theological debate ensues with regard to what kind of resurrection is factual – either a spiritual resurrection with a spirit body into Heaven, or a material resurrection with a restored human body. While most Christians believe Jesus' resurrection from the dead and ascension to Heaven was in a material body, a very small minority believe it was spiritual.
There are documented rare cases of the return to life of the clinically dead which are classified scientifically as examples of the Lazarus syndrome, a term originating from the Biblical story of the Resurrection of Lazarus.
Etymology
Resurrection, from the Latin noun resurrectio -onis, from the verb rego, "to make straight, rule" + preposition sub, "under", altered to subrigo and contracted to surgo, surrexi, surrectum + preposition re-, "again", thus literally "a straightening from under again".
Religion
Ancient religions in the Near East
See also: Dying-and-rising god
The concept of resurrection is found in the writings of some ancient non-Abrahamic religions in the Middle East. A few extant Egyptian and Canaanite writings allude to dying and rising gods such as Osiris and Baal. Sir James Frazer in his book The Golden Bough relates to these dying and rising gods, but many of his examples, according to various scholars, distort the sources. Taking a more positive position, Tryggve Mettinger argues in his recent book that the category of rise and return to life is significant for the following deities: Ugaritic Baal, Melqart, Adonis, Eshmun, Osiris and Dumuzi.
Ancient Greek religion
In ancient Greek religion a number of men and women were made physically immortal as they were resurrected from the dead. Asclepius was killed by Zeus, only to be resurrected and transformed into a major deity. Achilles, after being killed, was snatched from his funeral pyre by his divine mother Thetis and resurrected, brought to an immortal existence in either Leuce, Elysian plains or the Islands of the Blessed. Memnon, who was killed by Achilles, seems to have received a similar fate. Alcmene, Castor, Heracles, and Melicertes, were also among the figures sometimes considered to have been resurrected to physical immortality. According to Herodotus's Histories, the seventh century BC sage Aristeas of Proconnesus was first found dead, after which his body disappeared from a locked room. Later he found not only to have been resurrected but to have gained immortality.
Many other figures, like a great part of those who fought in the Trojan and Theban wars, Menelaus, and the historical pugilist Cleomedes of Astupalaea, were also believed to have been made physically immortal, but without having died in the first place. Indeed, in Greek religion, immortality originally always included an eternal union of body and soul. The philosophical idea of an immortal soul was a later invention, which, although influential, never had a breakthrough in the Greek world. As may be witnessed even into the Christian era, not least by the complaints of various philosophers over popular beliefs, traditional Greek believers maintained the conviction that certain individuals were resurrected from the dead and made physically immortal and that for the rest of us, we could only look forward to an existence as disembodied and dead souls.
This traditional religious belief in physical immortality was generally denied by the Greek philosophers. Writing his Lives of Illustrious Men (Parallel Lives) in the first century CE, the Middle Platonic philosopher Plutarch's chapter on Romulus gave an account of the mysterious disappearance and subsequent deification of this first king of Rome, comparing it to traditional Greek beliefs such as the resurrection and physical immortalization of Alcmene and Aristeas the Proconnesian, "for they say Aristeas died in a fuller's work-shop, and his friends coming to look for him, found his body vanished; and that some presently after, coming from abroad, said they met him traveling towards Croton." Plutarch openly scorned such beliefs held in traditional ancient Greek religion, writing, "many such improbabilities do your fabulous writers relate, deifying creatures naturally mortal."
The parallel between these traditional beliefs and the later resurrection of Jesus was not lost on the early Christians, as Justin Martyr argued: "when we say ... Jesus Christ, our teacher, was crucified and died, and rose again, and ascended into heaven, we propose nothing different from what you believe regarding those whom you consider sons of Zeus." (1 Apol. 21). There is, however, no belief in a general resurrection in ancient Greek religion, as the Greeks held that not even the gods were able to recreate flesh that had been lost to decay, fire or consumption.
The notion of a general resurrection of the dead was therefore apparently quite preposterous to the Greeks. This is made clear in Paul's Areopagus discourse. After having first told about the resurrection of Jesus, which makes the Athenians interested to hear more, Paul goes on, relating how this event relates to a general resurrection of the dead:
"Therefore having overlooked the times of ignorance, God is now declaring to men that all everywhere should repent, because He has fixed a day in which He will judge the world in righteousness through a Man whom He has appointed, having furnished proof to all men by raising Him from the dead." Now when they heard of the resurrection of the dead, some began to sneer, but others said, `We shall hear you again concerning this."
Christianity
Resurrection of Jesus
In Christianity, resurrection most critically concerns the Resurrection of Jesus, but also includes the resurrection of Judgment Day known as the Resurrection of the Dead by those Christians who subscribe to the Nicene Creed (which is the majority or Mainstream Christianity), as well as the resurrection miracles done by Jesus and the prophets of the Old Testament. Some churches distinguish between raising the dead (a resumption of mortal life) and a resurrection (the beginning of an immortal life).
Resurrection of Jesus
Christians regard the resurrection of Jesus as the central doctrine in Christianity. Others take the Incarnation of Jesus to be more central; however, it is the miracles – and particularly his Resurrection – which provide validation of his incarnation. According to Paul, the entire Christian faith hinges upon the centrality of the resurrection of Jesus and the hope for a life after death. The Apostle Paul wrote in his first letter to the Corinthians: If only for this life we have hope in Christ, we are to be pitied more than all men. But Christ has indeed been raised from the dead, the first fruits of those who have fallen asleep.
Resurrection
Miracles of Jesus § Resurrection of the dead
During the Ministry of Jesus on earth, before his death, Jesus commissioned his Twelve Apostles to, among other things, raise the dead. In the New Testament, Jesus is said to have raised several persons from death. These resurrections included the daughter of Jairus shortly after death, a young man in the midst of his own funeral procession, and Lazarus, who had been buried for four days. According to the Gospel of Matthew, after Jesus's resurrection, many of those previously dead came out of their tombs and entered Jerusalem, where they appeared to many.
Similar resurrections are credited to Christian apostles and saints. Peter allegedly raised a woman named Dorcas (called Tabitha), and Paul the Apostle revived a man named Eutychus who had fallen asleep and fell from a window to his death, according to the book of Acts. Proceeding the apostolic era, many saints were said to resurrect the dead, as recorded in Orthodox Christian hagiographies.[citation needed] St Columba supposedly raised a boy from the dead in the land of Picts .
Most Christians understand these miraculous resurrections to be of a different nature than the resurrection of Jesus and the future resurrection of the dead. The raising of Lazarus and others from the dead could also be called "resuscitations" or "reanimations", since the life given to them is presumably temporary in nature—there is no suggestion in the Bible or hagiographic traditions that these people became truly immortal. In contrast, the resurrection of Jesus and the future resurrection of the dead will abolish death once and for all (see Isaiah 25:8, 1 Corinthians 15:26, 2 Timothy 1:10, Revelation 21:4).
Resurrection of the Dead
Christianity started as a religious movement within 1st-century Judaism (late Second Temple Judaism), and it retains what the New Testament itself claims was the Pharisaic belief in the afterlife and Resurrection of the Dead. Whereas this belief was only one of many beliefs held about the World to Come in Second Temple Judaism, and was notably rejected by both the Sadducees and, according to Josephus, the Pharisees, this belief became dominant within Early Christianity and already in the Gospels of Luke and John included an insistence on the resurrection of the flesh. This was later rejected by gnostic teachings, which instead continued the Pauline insistence that flesh and bones had no place in heaven.
Most modern Christian churches continue to uphold the belief that there will be a final Resurrection of the Dead and World to Come, perhaps as prophesied by the Apostle Paul when he said: "...he hath appointed a day, in the which he will judge the world..." (Acts 17:31 KJV) and "...there shall be a resurrection of the dead, both of the just and unjust." (Acts 24:15 KJV).
Belief in the Resurrection of the Dead, and Jesus's role as judge, is codified in the Apostles' Creed, which is the fundamental creed of Christian baptismal faith. The Book of Revelation also makes many references about the Day of Judgment when the dead will be raised up.
Difference From Platonic philosophy
In Platonic philosophy and other Greek philosophical thought, at death the soul was said to leave the inferior body behind. The idea that Jesus was resurrected spiritually rather than physically even gained popularity among some Christian teachers, whom the author of 1 John declared to be antichrists. Similar beliefs appeared in the early church as Gnosticism. However, in Luke 24:39, the resurrected Jesus expressly states "behold my hands and my feet, that it is I myself. Handle me and see, for a spirit does not have flesh and bones as you see I have."
Islam
Belief in the "Day of Resurrection", Yawm al-Qiyāmah (Arabic: يوم القيامة) is also crucial for Muslims. They believe the time of Qiyāmah is preordained by God but unknown to man. The trials and tribulations preceding and during the Qiyāmah are described in the Qur'an and the hadith, and also in the commentaries of scholars. The Qur'an emphasizes bodily resurrection, a break from the pre-Islamic Arabian understanding of death.
Judaism and Samaritanism
There are three explicit examples in the Hebrew Bible of people being resurrected from the dead:
* The prophet Elijah prays and God raises a young boy from death (1 Kings 17:17-24)
* Elisha raises the son of the Shunammite woman (2 Kings 4:32-37); this was the very same child whose birth he previously foretold (2 Kings 4:8-16)
* A dead man's body that was thrown into the dead Elisha's tomb is resurrected when the body touches Elisha's bones (2 Kings 13:21)
During the period of the Second Temple, there developed a diversity of beliefs concerning the resurrection. The concept of resurrection of the physical body is found in 2 Maccabees, according to which it will happen through recreation of the flesh.[17] Resurrection of the dead also appears in detail in the extra-canonical books of Enoch,[18] in Apocalypse of Baruch, and 2 Esdras. According to the British scholar in ancient Judaism Philip R. Davies, there is “little or no clear reference … either to immortality or to resurrection from the dead” in the Dead Sea scrolls texts.
Both Josephus and the New Testament record that the Sadducees did not believe in an afterlife, but the sources vary on the beliefs of the Pharisees. The New Testament claims that the Pharisees believed in the resurrection, but does not specify whether this included the flesh or not. According to Josephus, who himself was a Pharisee, the Pharisees held that only the soul was immortal and the souls of good people will be reincarnated and “pass into other bodies,” while “the souls of the wicked will suffer eternal punishment.” Paul, who also was a Pharisee, said that at the resurrection what is "sown as a natural body is raised a spiritual body." Jubilees seems to refer to the resurrection of the soul only, or to a more general idea of an immortal soul.
According to Herbert C. Brichto, writing in Reform Judaism's Hebrew Union College Annual, the family tomb is the central concept in understanding biblical views of the afterlife. Brichto states that it is "not mere sentimental respect for the physical remains that is...the motivation for the practice, but rather an assumed connection between proper sepulture and the condition of happiness of the deceased in the afterlife".
According to Brichto, the early Israelites apparently believed that the graves of family, or tribe, united into one, and that this unified collectivity is to what the Biblical Hebrew term Sheol refers, the common Grave of humans. Although not well defined in the Tanakh, Sheol in this view was a subterranean underworld where the souls of the dead went after the body died. The Babylonians had a similar underworld called Aralu, and the Greeks had one known as Hades. For biblical references to Sheol see Genesis 42:38, Isaiah 14:11, Psalm 141:7, Daniel 12:2, Proverbs 7:27 and Job 10:21,22, and 17:16, among others. According to Brichto, other Biblical names for Sheol were: Abaddon (ruin), found in Psalm 88:11, Job 28:22 and Proverbs 15:11; Bor (the pit), found in Isaiah 14:15, 24:22, Ezekiel 26:20; and Shakhat (corruption), found in Isaiah 38:17, Ezekiel 28:8.
Zen Buddhism
There are stories in Buddhism where the power of resurrection was allegedly demonstrated in Chan or Zen tradition. One is the legend of Bodhidharma, the Indian master who brought the Ekayana school of India to China that subsequently became Chan Buddhism.
The other is the passing of Chinese Chan master Puhua (J., Fuke) and is recounted in the Record of Linji (J., Rinzai). Puhua was known for his unusual behavior and teaching style so it is no wonder that he is associated with an event that breaks the usual prohibition on displaying such powers. Here is the account from Irmgard Schloegl's "The Zen Teaching of Rinzai".
"One day at the street market Fuke was begging all and sundry to give him a robe. Everybody offered him one, but he did not want any of them. The master [Linji] made the superior buy a coffin, and when Fuke returned, said to him: "There, I had this robe made for you." Fuke shouldered the coffin, and went back to the street market, calling loudly: "Rinzai had this robe made for me! I am off to the East Gate to enter transformation" (to die)." The people of the market crowded after him, eager to look. Fuke said: "No, not today. Tomorrow, I shall go to the South Gate to enter transformation." And so for three days. Nobody believed it any longer. On the fourth day, and now without any spectators, Fuke went alone outside the city walls, and laid himself into the coffin. He asked a traveler who chanced by to nail down the lid.
The news spread at once, and the people of the market rushed there. On opening the coffin, they found that the body had vanished, but from high up in the sky they heard the ring of his hand bell."
Technological resurrection
Cryonics is the low-temperature preservation of humans who cannot be sustained by contemporary medicine, with the hope that healing and resuscitation may be possible in the future. Cryonics procedures ideally begin within minutes of cardiac arrest, and use cryoprotectants to prevent ice formation during cryopreservation.
However, the idea of cryonics also includes preservation of people long after death because of the possibility that brain encoding memory structure and personality may still persist or be inferable in the future. Whether sufficient brain information still exists for cryonics to successfully preserve may be intrinsically unprovable by present knowledge. Therefore, most proponents of cryonics see it as an intervention with prospects for success that vary widely depending on circumstances.
Russian Cosmist Nikolai Fyodorovich Fyodorov advocated resurrection of the dead using scientific methods. Fedorov tried to plan specific actions for scientific research of the possibility of restoring life and making it infinite. His first project is connected with collecting and synthesizing decayed remains of dead based on "knowledge and control over all atoms and molecules of the world".
The second method described by Fedorov is genetic-hereditary. The revival could be done successively in the ancestral line: sons and daughters restore their fathers and mothers, they in turn restore their parents and so on. This means restoring the ancestors using the hereditary information that they passed on to their children. Using this genetic method it is only possible to create a genetic twin of the dead person. It is necessary to give back the revived person his old mind, his personality. Fedorov speculates about the idea of "radial images" that may contain the personalities of the people and survive after death. Nevertheless, Fedorov noted that even if a soul is destroyed after death, Man will learn to restore it whole by mastering the forces of decay and fragmentation.
In his 1994 book The Physics of Immortality, American physicist Frank J. Tipler, an expert on the general theory of relativity, presented his Omega Point Theory which outlines how a resurrection of the dead could take place at the end of the cosmos. He posits that humans will evolve into robots which will turn the entire cosmos into a supercomputer which will, shortly before the big crunch, perform the resurrection within its cyberspace, reconstructing formerly dead humans (from information captured by the supercomputer from the past light cone of the cosmos) as avatars within its metaverse.
David Deutsch, British physicist and pioneer in the field of quantum computing, agrees with Tipler's Omega Point cosmology and the idea of resurrecting deceased people with the help of quantum computer but he is critical of Tipler's theological views.
Italian physicist and computer scientist Giulio Prisco presents the idea of "quantum archaeology", "reconstructing the life, thoughts, memories, and feelings of any person in the past, up to any desired level of detail, and thus resurrecting the original person via 'copying to the future'".
In his book Mind Children, roboticist Hans Moravec proposed that a future supercomputer might be able to resurrect long-dead minds from the information that still survived. For example, this information can be in the form of memories, filmstrips, medical records, and DNA.
Ray Kurzweil, American inventor and futurist, believes that when his concept of singularity comes to pass, it will be possible to resurrect the dead by digital recreation.
In their science fiction novel The Light of Other Days, Sir Arthur Clarke and Stephen Baxter imagine a future civilization resurrecting the dead of past ages by reaching into the past, through micro wormholes and with nanorobots, to download full snapshots of brain states and memories.
Both the Church of Perpetual Life and the Terasem Movement consider themselves transreligions and advocate for the use of technology to indefinitely extend the human lifespan.
Zombies
A zombie (Haitian Creole: zonbi; North Mbundu: nzumbe) can be either a fictional undead monster or a person in an entranced state believed to be controlled by a bokor or wizard. These latter are the original zombies, occurring in the West African Vodun religion and its American offshoots Haitian Vodou and New Orleans Voodoo.
Zombies became a popular device in modern horror fiction, largely because of the success of George A. Romero's 1968 film Night of the Living Dead and they have appeared as plot devices in various books, films and in television shows. Zombie fiction is now a sizable subgenre of horror, usually describing a breakdown of civilization occurring when most of the population become flesh-eating zombies – a zombie apocalypse. The monsters are usually hungry for human flesh, often specifically brains. Sometimes they are victims of a fictional pandemic illness causing the dead to reanimate or the living to behave this way, but often no cause is given in the story.
Disappearances (as distinct from resurrection)
As knowledge of different religions has grown, so have claims of bodily disappearance of some religious and mythological figures. In ancient Greek religion, this was a way the gods made some physically immortal, including such figures as Cleitus, Ganymede, Menelaus, and Tithonus. After his death, Cycnus was changed into a swan and vanished. In his chapter on Romulus from Parallel Lives, Plutarch criticises the continuous belief in such disappearances, referring to the allegedly miraculous disappearance of the historical figures Romulus, Cleomedes of Astypalaea, and Croesus. In ancient times, Greek and Roman pagan similarities were explained by the early Christian writers, such as Justin Martyr, as the work of demons, with the intention of leading Christians astray.
In somewhat recent years it has been learned that Gesar, the Savior of Tibet, at the end, chants on a mountain top and his clothes fall empty to the ground. The body of the first Guru of the Sikhs, Guru Nanak Dev, is said to have disappeared and flowers were left in place of his dead body.
Lord Raglan's Hero Pattern lists many religious figures whose bodies disappear, or have more than one sepulchre. B. Traven, author of The Treasure of the Sierra Madre, wrote that the Inca Virococha arrived at Cusco (in modern-day Peru) and the Pacific seacoast where he walked across the water and vanished.[46] It has been thought that teachings regarding the purity and incorruptibility of the hero's human body are linked to this phenomenon. Perhaps, this is also to deter the practice of disturbing and collecting the hero's remains. They are safely protected if they have disappeared.
The first such case mentioned in the Bible is that of Enoch (son of Jared, great-grandfather of Noah, and father of Methuselah). Enoch is said to have lived a life where he "walked with God", after which "he was not, for God took him" (Genesis 5:1–18).
In Deuteronomy (34:6) Moses is secretly buried. Elijah vanishes in a whirlwind 2 Kings (2:11). After hundreds of years these two earlier Biblical heroes suddenly reappear, and are seen walking with Jesus, then again vanish. Mark (9:2–8), Matthew (17:1–8) and Luke (9:28–33). The last time he is seen, Luke (24:51) alone tells of Jesus leaving his disciples by ascending into the sky.
St Machar's Cathedral (or, more formally, the Cathedral Church of St Machar) is a Church of Scotland church in Aberdeen, Scotland. It is located to the north of the city centre, in the former burgh of Old Aberdeen. Technically, St Machar's is no longer a cathedral but rather a high kirk, as it has not been the seat of a bishopsince 1690.
St Machar is said to have been a companion of St Columba on his journey to Iona. A fourteenth-century legend tells how God (or St Columba) told Machar to establish a church where a river bends into the shape of a bishop's crosier before flowing into the sea.
The River Don bends in this way just below where the Cathedral now stands. According to legend, St Machar founded a site of worship in Old Aberdeen in about 580. Machar's church was superseded by a Norman cathedral in 1131, shortly after David I transferred the See from Mortlach to Aberdeen.
Almost nothing of that original cathedral survives; a lozenge-decorated base for a capital supporting one of the architraves can be seen in the Charter Room in the present church.
After the execution of William Wallace in 1305, his body was cut up and sent to different corners of the country to warn other dissenters. His left quarter ended up in Aberdeen and is buried in the walls of the cathedral.
At the end of the thirteenth century Bishop Henry Cheyne decided to extend the church, but the work was interrupted by the Scottish Wars of Independence. Cheyne's progress included piers for an extended choir at the transept crossing. These pillars, with decorated capitals of red sandstone, are still visible at the east end of the present church.
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
The Cathedral is a fine example of a fortified kirk, with twin towers built in the fashion of fourteenth-century tower houses. Their walls have the strength to hold spiral staircases to the upper floors and battlements. The spires which presently crown the
Though worn by exposure to the elements after the collapse of the cathedral's central tower, these capitals are among the finest stone carvings of their date to survive in Scotland.
Bishop Alexander Kininmund II demolished the Norman cathedral in the late 14th century, and began the nave, including the granite columns and the towers at the western end. Bishop Henry Lichtoun completed the nave, the west front and the northern transept, and made a start on the central tower.
Bishop Ingram Lindsay completed the roof and the paving stones in the later part of the fifteenth century. Further work was done over the next fifty years by Thomas Spens, William Elphinstone and Gavin Dunbar; Dunbar is responsible for the heraldic ceiling and the two western spires.
The chancel was demolished in 1560 during the Scottish Reformation. The bells and lead from the roof were sent to be sold in Holland, but the ship sank near Girdle Ness.
The central tower and spire collapsed in 1688, in a storm, and this destroyed the choir and transepts. The west arch of the crossing was then filled in, and worship carried on in the nave only; the current church consists only of the nave and aisles of the earlier building.
The ruined transepts and crossing are under the care of Historic Scotland, and contain an important group of late medieval bishops' tombs, protected from the weather by modern canopies. The Cathedral is chiefly built of outlayer granite. On the unique flat panelled ceiling of the nave (first half of the 16th Century) are the heraldic shields of the contemporary kings of Europe, and the chief earls and bishops of Scotland.
Bishops Gavin Dunbar and Alexander Galloway built the western towers and installed the heraldic ceiling, featuring 48 coats of arms in three rows of sixteen. Among those shown are:
* Pope Leo X's coat of arms in the centre, followed in order of importance by those of the Scottish archbishops and bishops.
* the Prior of St Andrews, representing other Church orders.
* King's College, the westernmost shield.
* Henry VIII of England, James V of Scotland and multiple instances for the Holy Roman Emperor Charles V, who was also King of Spain, Aragon, Navarre and Sicily at the time the ceiling was created.
* St Margaret of Scotland, possibly as a stand-in for Margaret Tudor, James V's mother, whose own arms would have been the marshalled arms of England and Scotland.
* the arms of Aberdeen and of the families Gordon, Lindsay, Hay and Keith.
The ceiling is set off by a frieze which starts at the north-west corner of the nave and lists the bishops of the see from Nechtan in 1131 to William Gordon at the Reformation in 1560. This is followed by the Scottish monarchs from Máel Coluim II to Mary, Queen of Scots.
Notable figures buried in the cathedral cemetery include the author J.J. Bell, Robert Brough, Gavin Dunbar, Robert Laws, a missionary to Malawi and William Ogilvie of Pittensear—the ‘rebel professor’.
There has been considerable investment in recent years in restoration work and the improvement of the display of historic artefacts at the Cathedral.
The battlements of the western towers, incomplete for several centuries, have been renewed to their original height and design, greatly improving the appearance of the exterior. Meanwhile, within the building, a number of important stone monuments have been displayed to advantage.
These include a possibly 7th-8th century cross-slab from Seaton (the only surviving evidence from Aberdeen of Christianity at such an early date); a rare 12th century sanctuary cross-head; and several well-preserved late medieval effigies of Cathedral clergy, valuable for their detailed representation of contemporary dress.
A notable modern addition to the Cathedral's artistic treasures is a carved wooden triptych commemorating John Barbour, archdeacon of Aberdeen (d. 1395), author of The Brus.
Details best viewed in Original Size.
According to Wikipedia, the Sultan Ahmed Mosque (more commonly known as The Blue Mosque for the blue tiles adorning its interior walls) was built from 1609 to 1616, during the rule of Ahmed I and although it is still popularly used as a mosque, it is also a popular tourist attraction. The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman Mosques development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The facade of the spacious forecourt (seen here) was built in the same manner as the facade of the Süleymaniye Mosque (also included in this set). The court is about as large as the mosque itself, is surrounded by a continuous vaulted arcade and has a central hexagonal fountain (seen here) which is small relative to the courtyard.
This panorama was constructed using Photoshop CS6 to stitch together horizontally two portrait-oriented images.
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Louis Fratino synthesizes his own experiences, memories, and fantasies in his intimate, sensual paintings of gay life in the metropolis. In his celebrated male nudes, scenes of entangled bodies, and pictures of subway passengers peering at their reflections, Fratino imbues contemporary subject matter with art historical references. Evoking tenets of Cubism and Fauvism, his paintings often embrace the styles and palettes of early 20th-century modernists such as Pablo Picasso, Fernand Léger, and Henri Matisse. A graduate of the Maryland Institute College of Art, Fratino was awarded a Fulbright Research Fellowship in 2016. His work has been exhibited in New York, Los Angeles, Paris, Berlin, and Stockholm, among other cities. Along with his portraits and group scenes, Fratino has also painted still lifes and interiors. ONLINE BIO NOTES.
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Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
© All Rights Reserved - you may not use this image in any form without my prior permission.
Details best viewed in Original Size.
According to Wikipedia, the Sultan Ahmed Mosque (more commonly known as The Blue Mosque for the blue tiles adorning its interior walls) was built from 1609 to 1616, during the rule of Ahmed I and although it is still popularly used as a mosque, it is also a popular tourist attraction. The Sultan Ahmed Mosque has one main dome, six minarets, and eight secondary domes. The design is the culmination of two centuries of Ottoman mosque development. It incorporates some Byzantine elements of the neighboring Hagia Sophia with traditional Islamic architecture and is considered to be the last great mosque of the classical period. The architect, Sedefkâr Mehmed Ağa, synthesized the ideas of his master Sinan, aiming for overwhelming size, majesty and splendor. The facade of the spacious forecourt was built in the same manner as the facade of the Süleymaniye Mosque (also included in this set). The court is about as large as the mosque itself, is surrounded by a continuous vaulted arcade and has a central hexagonal fountain which is small relative to the courtyard.
Artist Fred Eversley to create large-scale sculptural installation at One Flagler in West Palm Beach
West Palm Beach
Dec 14, 2022
Eversley’s largest commission to date will be unveiled in spring 2024.
Sculptor and artist Fred Eversley has been commissioned by Related Companies in partnership with the City of West Palm Beach to create a new public art installation. Slated for completion in spring of 2024, the artwork is titled Portals. It will comprise a constellation of eight of his signature parabolic shapes in transparent, violet-hued polyurethane resin, adorning the One Flagler office tower, a new 25-story building designed by architect David Childs and Skidmore, Owings & Merrill LLP.
Eversley’s work is often associated with the Light and Space movement. It has been featured in over 200 exhibitions and is included in over 40 museum collections. He has executed 20 large public artwork commissions. By training, Eversley is an engineer, and his sleek creations in cast polyester resins and bronze, and laminated acrylics and stainless steel, frequently take the form of disks, parabolas, helices and lenses. The reflectivity of the works makes them naturally interactive.
Portals will be the largest public art installation and most ambitious project created by Eversley in recent years; upon completion, it will be added to the City of West Palm Beach’s public art program, ArtLife WPB. The selection process for the commission was managed by Related Companies executives and Culture Corps, the art advisory and creative consultancy founded by Doreen Remen and Yvonne Force Villareal.
As part of the project, the adjacent First Church of Christ, Scientist—which inspired Eversley’s Portals—will be preserved in perpetuity. Designed in the Beaux-Arts style by African American architect Julian Abele in 1928, and completed in 1929, the church remains one of the most architecturally significant historic structures in West Palm Beach. The 1.25-acre public green space in front of the new One Flagler building will be named “Julian Abele Park.” The eight sculptures comprising Portals refer to the eight columns of the church.
Explains Eversley, “Seen from afar, eight Portals rise up, from land, and out of water, shaping a graceful gate that resonates with the columns of the church. Like an arced welcoming arm, the Portals lead visitors to the heart of the site’s historical ground. The Portals become an active third part of what is now a sculptural and architectural trilogy, one in which the number eight is a recurring theme. The aim is to inspire and draw thoughts to Abele’s masterful gestures, and to the mind that gave rise to this destination point, which now appears in a new light, and with new life. Portals signals a new beginning––an homage to Abele’s significance and his relevant, lasting contribution, which are here given renewed value and brought into the eternal light of infinite spirit.”
“We believe that public art is inclusive and creates memorable shared experiences providing moments of discovery and inspiration. The park at One Flagler is the perfect place to present an important work of art by an iconic artist,” says Gopal Rajegowda, partner at Related Southeast. “We conducted an in-depth search and proposal process, which resulted in the selection of Portals by Fred Eversley. The artwork stands out for its beautiful, eye-catching design and its homage to architect Julian Abele and the historic church. Eversley’s sculptures will make a meaningful connection between the past and the current important time in the City of West Palm Beach.”
Adds City of West Palm Beach Major Keith James, “By preserving the historical First Church of Christ, Scientist and creating a new monumental artwork that pays tribute to its architect, Related and Fred Eversley are presenting the City of West Palm Beach with a lasting gift. This new park and captivating installation will be a major draw for residents, visitors and art enthusiasts.”
About Portals:
The shape of the sculptures will act as lenses and create optical effects in the parabolic elements, as well as refractions in the surface of the water. The sculptures are made of a crystal-clear material that will be tinted with dyes, adding a violet tone. Due to their shape, the sculptures will vary in gradation from more rich color in the thicker and wider bottom to more pale at the thinner top. The angled edge surfaces will stand out as mirror-reflective signature arches in both daylight and night light.
During the daytime, Portals will change in appearance, shifting with the sunlight, weather and time of day. The tapered surfaces of the sculptures will naturally be illuminated and more reflective due to their angle toward the sun, creating a silhouette of bright mirroring “arches” that will have a distinct and dramatic effect.
At night, Portals will be up-lit from below, so that the light travels upward through the material of the sculptures. The shell will be luminous throughout, but brighter at the bottom and fading toward the top, adding a range of violet to indigo hues.
About Fred Eversley:
Fred Eversley (b. 1941, Brooklyn, New York) is a key figure in the development of contemporary art from Los Angeles during the postwar period. Now based in New York after living and working in Venice Beach, California for fifty years, Eversley synthesizes elements from several art historical movements associated with Southern California, including Light and Space, though his work is the product of a pioneering vision all his own, informed by lifelong studies on the timeless principles of light, space, time, and gravity. Prior to his becoming an artist, Eversley was an engineer who designed and built highintensity acoustical laboratories for NASA, the French atomic energy commission, the European space laboratory, and other major aerospace companies. His science and technology background helped develop his interest in the parabolic shape; the only shape that concentrates all forms of energy to a single focal point.
His pioneering use of polyester resin, and industrial dyes and pigments, reflects the technological advances that define the postwar period even as his work reveals the timeless inner workings of the human eye and mind. Eversley’s abstract, three-dimensional meditations on color—including the luminous parabolic lenses for which he is best known—entice the viewer to approach, prompting questions about how the biological and optical mechanics of sight determine how we see and understand each other, and communicating a kinetic, palpable sense of the mysterious presence of energy throughout the universe.
Fred Eversley is the subject of a solo exhibition, Fred Eversley: Reflecting Back (the World), at the Orange County Museum of Art, Costa Mesa, California, on view through January 15, 2023, and will be the subject of forthcoming solo exhibitions at David Kordansky Gallery, New York, in May 2023 and at the Benton Museum of Art at Pomona College, Claremont, California, in 2024. He has also been the subject of solo exhibitions at the Rose Art Museum, Brandeis University, Waltham, Massachusetts (2017); Art + Practice, Los Angeles (2016); National Academy of Science, Washington, D.C. (1981); Palm Springs Art Museum, California (1977); Newport Harbor Art Museum, Newport Beach, California (1976); and Whitney Museum of American Art, New York (1970). Recent group exhibitions include Light & Space, Copenhagen Contemporary (2021-2022); Soul of a Nation: Art in the Age of Black Power (2017 – 2020, traveled to five venues); Space Shifters, Hayward Gallery, London (2018); and Water & Power, curated by the late Noah Davis, Underground Museum (2018). His work is in the permanent collections of more than four dozen museums throughout the world, including the Whitney Museum of American Art, New York; Tate Modern, London; Guggenheim Museum, New York; Museum of Fine Arts, Houston; Crystal Bridges Museum of American Art, Bentonville, Arkansas; Museum of Modern Art, New York; K11 Art Foundation, Hong Kong; and Los Angeles County Museum of Art. The first monograph dedicated to Eversley’s work was published by David Kordansky Gallery in 2022. Eversley lives and works in New York.
Credit for the data above is given to the following websites:
www.relatedross.com/press-releases/2022-12-14/artist-fred...
www.wpbmagazine.com/portals-a-transformative-art-installa...
© All Rights Reserved - you may not use this image in any form without my prior permission.
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(This is a portrait I made [in 1992 in Occidental, California at a marijuana stash house] of an alleged drug cook I had become a friend of in the mid-1970s.)
He once told me that if the police busted me, I should only say "and?" in response to anything the police said to me.
(Color pencils and watercolor crayons on paper) (BEST VIEWED LARGE)
(“There was a need--political, socially--for that LSD explosion in the 60s and the ecstasy explosion in the early 90s."
---Leo Butler, a playwright, speaking to BBC about his show "All You Need is LSD". Butler legally took LSD at the invitation of David Nutt as part of what was said to be "the first medical trial of LSD in 50 years".
[from "How LSD Influenced Western Culture"
by Holly Williams, BBC, 10.17. 2008
www.bbc.com/culture/article/20181016-how-lsd-influenced-w...])
.
(Please read ALL of the IMPORTANT explanatory text AND COMMENTS below)
It is a VERY IMPORTANT legal principle in America that a person must be "presumed to be innocent of committing a crime until that person is found to be guilty of committing a crime."
After a lengthy and exhaustive search, conducted over a period of years, I have never seen any evidence that the "alleged drug cook" pictured above has ever been convicted of committing any crime.
(In early 1972 I was arrested on federal MDA [methylenedioxyamphetamine] charges. [At the time of my arrest, I thought MDA was legal. Unfortunately, it had been outlawed approximately 2 years earlier.] MDA seemed to me to be unlikely to be a substance that most people would use more than a very few times, because my personal experience of using it was that it was that it usually left me extremely, and distressingly, drained of energy the day after my use. The severe "crash", as the local drug users called it, was unusually unpleasant.
The effects of MDMA, which, years later, was widely distributed and became globally popular, seemed to me to be quite different than MDA, especially in that, if used properly, there seemed to be very few, if any, negative effects experienced the day after use. Nonetheless, I have always refused to buy, sell, or manufacture MDMA because the name of the drug 3,4-Methylenedioxymethamphetamine contains the name "methamphetamine".
After being beat and tortured during my arrest, I refused to cooperate, entered a plea of "NOT GUILTY", and jumped bail.
I was arrested in Oakland, California in June 1985 on a federal charge of conspiracy to distribute LSD in Missouri, days before MDMA [or "ecstasy"] was made illegal. I again refused to cooperate with law enforcement or prosecutors. At the time of my arrest I was in possession of various amounts of a number of drugs, including a psilocybin mushroom, a trace amount of heroin, codeine, valium, a cigarette made of marijuana mixed with freebase cocaine ["crack"], a number of doses of LSD in various forms and a small amount of 2C-B that had been made by someone I knew who was an academic chemist who also provided a hand-drawn diagram showing how he synthesized it that was found with it . I was also in possession of a small amount of MDMA that the alleged cook pictured above told me he had made. I do not know why I was not found to be guilty of possessing any of the drugs found in my briefcase. I do not know why I was not found to be guilty of the LSD conspiracy charge.
I was not found to be guilty of the 1972 MDA charges, but I WAS found to be guilty of failing to appear in court in 1972, and was sentenced to serve 2 years in prison.)
Roy Edwards, who was NOT a drug cook, taught me about art when we were housemates in 1992 in a large marijuana stash house owned by the alleged drug cook in Occidental, California. (Roy had been one of Mark Rothko's studio assistants.)
(In 2012, Rothko's 1961 painting "Orange, Red, Yellow" was sold by Christie's in New York for more than $86.8 million.)
("To us art is an adventure into an unknown world, which can be explored only by those willing to take the risks.
This world of imagination is fancy-free and violently opposed to common sense.
It is our function as artists to make the spectator see the world our way--not his way."
---Mark Rothko and Adolph Gottlieb, in a 1943 letter to the art editor of The New York Times.)
(Roy Edwards was a devoted member of the Krishna cult [ISKON-International Society for Krishna Consciousness], a group that was founded in the mid-1960s. When I was an underage teenager in Berkeley in 1969 they gave delicious free vegetarian meals at their temple near Telegraph Avenue. I was not into joining their cult, but while on LSD I had several unusually high-energy encounters with A.C. Bhaktivedanta Swami Prabhupada, who founded the group and was sometimes at the Berkeley temple. Beatle George Harrison, a Krishna devotee, produced a single "Hare Krishna Mantra" with the Radha Krishna Temple. It featured Harrison singing with the Krishnas and was released by Apple records in mid-1969, doing much to popularize the Krishnas. Unfortunately, it soon became clear that a number of serious criminals had joined. At first it seemed like a positive thing, because they smuggled and distributed quantities of potent cannabis products like hash oil. They also bought and sold LSD. [While visiting Canada in the early 1970s I obtained cannabis from a Krishna who smuggled it there from their temple in West Virginia.] Things went downhill fast. In March 1980 a lot of guns and ammunition was seized from Krishnas in Lake County, California and in El Cerrito, near Berkeley. A few months later the Berkeley police found a submachine gun, 2 assault rifles, and 3 loaded pistols in an unregistered Mercedes. [I knew the owner of the car...] The head of the Berkeley temple, Hansadutta, was arrested. In August 1984, Hansadutta ran amok and shot up Ledgers liquor store in Berkeley and then drove to the McNevin Cadillac showroom and shot it up. When arrested soon after, Hansadutta had 4 loaded guns and much ammunition. He also had $8,200 in cash.
Roy [who was a friend of Hansadutta] often talked about Rothko. He said he had been at the studio around the time Rothko committed suicide. Roy had a "terrible" methamphetamine addiction at that period in his life and was injecting himself with the drug day and night. The way he told the story implied he may have killed Rothko. He said he was never interviewed by the police and went to India and hooked up with the Krishnas there immediately following Rothko's death. The next day I went to the bay area and looked at many books about Rothko. I arrived back at the stash house late at night. I did not turn on the lights. I quietly went up the stairs to my room, pausing mid-way to retrieve a piece of metal pipe I had hidden in case I needed to defend myself. The pipe felt wet. It had not been wet when I hid it. I went into my room and used the flame from a cigarette lighter to examine the pipe, which was dripping paint that was the color of blood. I heard a loud maniacal laugh from the next room. "Now you know what art is!" Roy exclaimed...)
("A painter here has sued CBS Inc. and its New York publishing house, charging that it implicated him in the death of the artist Mark Rothko.
The painter, Roy Edwards, seeks $1.25 million in compensatory and punitive damagess from CBS, its publishing subsidiary, Holt, Rinehart & Winston, and Lee Seldes, an author. The plaintiff charges them with having made libelous statements about him in Mrs. Seldes’ book, 'The Legacy of Mark Rothko,' published last year. The suit contends that Mr. Edwards has suffered damage to his reputation and career as a result of 'malicious, false, scandalous and defamatory' references in which he was said to have been involved in 'a successful plot to murder' Rothko. The Abstract Expressionist artist died in 1970 at the age of 66 in his New York City studio. The death was ruled a suicide.
Mrs. Seldes denied any link between Rothko's death and Mr. Edwards. 'There is no plot in the book at all, except the fact that Rothko was pushed to suicide,' she said. 'That is my scenario and I stand by it.'"
---The New York Times, 3.1. 1979, "CBS Is Sued by Painter Over a Book on Rothko".)
("In his review of my book, The Legacy of Mark Rothko [NYR, December 21, 1978], Robert Hughes..."
"...charges that I, on the basis of 'gossip,' state that Rothko did not commit suicide but was 'assassinated.' Neither of these charges is true. I believe that Rothko’s death almost certainly was self-inflicted and much of the book is devoted to the many reasons for his suicide. The major pressure on Rothko was, as I state repeatedly, 'the forced selection and sale of his paintings to Marlborough' scheduled for the day of his death. [Hughes, though he has chosen to adopt much of my biographical and medical research on the matter as his own, neglects to mention this crucial motivation.]
In the penultimate chapter of the book I have attempted to resolve public and private speculations about the circumstances surrounding Rothko’s death. That he might have been murdered had been voiced publicly, not only by Agnes Martin, but, as recounted by Paul Gardner in New York [February 7, 1977], by Kate Rothko’s lawyer, Edward J. Ross, and others. The subject of possible murder having been raised, it would have been irresponsible, I believe, not to explore the facts as fully as possible, which I did. Apparently Hughes did not read the detailed autopsy notes of the pathologists’ views that I quoted from, because he states that Rothko cut 'his elbow veins with a razor.' In fact Rothko did not [that would have taken much longer]. Having taken a massive overdose of drugs, he somehow managed to chop through the ligaments and the artery in his right arm with only the aid of a double-edged razor blade, one edge wrapped in Kleenex. According to a well-known surgeon this is not possible without the aid of a scalpel or a blade with a handle for leverage. The ligaments and the ante-cubital fossae are far too tough to be severed with just a razor blade. But, as I wrote, at that moment in his drive to die, Rothko must have possessed superhuman strength. Still the questions of how drugged he was at the time and how he performed all this without the aid of his glasses remain unresolved. Since the possibility of homicide could not be completely ruled out—however unlikely—I reported these facts in detail in what I believe to be a straightforward and unsensational exposition. It is my view, as stated in the book, that Rothko almost certainly committed suicide, pushed to the brink by the Marlborough deal. Nowhere did I suggest or imply that any individual was the 'hitman.'"
---Lee Seldes, in a letter to the editors of The New York Review of Books, 2.8. 1979.
"Most of her objections are trivial, but one substantial matter is her defense of the chapter in which she strove, by innuendo, to suggest Rothko was murdered on behalf of Marlborough. 'The subject having been raised,' she now claims, 'it would have been irresponsible…not to explore the facts as fully as possible.' But who actually raised the subject? One magazine writer, who knew nothing about the matter; one painter, who knew less. If the lawyer Edward Ross did raise the question he showed no evidence for it. To slip a journalist your fantasies is not to offer proof; and that was all Ross did. The idea that Rothko was murdered was never considered by the court. It was not suggested by the forensic experts who examined his body. The autopsy produced no evidence for it. It was, quite simply, not an issue. Yet Ms. Seldes, using phrases like 'If Rothko was not murdered, he was pressured into taking his own life…. It was at best a kind of remote control killing' (p. 317), saw fit to spend a whole chapter dragging this red herring to and fro, instead of giving it the brief paragraph it might have deserved. There was, I think, only one reason for her tendentious performance. She is so obsessed with the evils of the art world that her villains cannot possibly be black enough. They must be murderers as well as thieves."
---Robert Hughes, in a letter to the editors of The New York Review of Books, 2.8. 1979, written in reply to Lee Seldes.)
(Snapshot, Telegraph Avenue, Berkeley, California, 1971: I saw a young man with long hair who was wearing lizardskin cowboy boots and carrying 2 very large suitcases. He looked at me and said "help!" It turned out he was from Texas and both suitcases were filled with "bricks" of Mexican marijuana. I sold the pot and became good friends with the Texan, whose name was Bill. Over the next decade I met many of Bill's crew of marijuana dealers and their many friends and associates from Texas.)
(Snapshot, Occidental, late 1992: I saw Terence McKenna picking up his mail. His vehicle had a personalized California license plate with the letters NN DMT. Big grin!)
(Snapshot, Occidental, late 1992: I was at a marijuana stash house waiting for Roy Edwards. I heard sirens and an amplified voice "PULL THE VEHICLE OVER! PULL THE VEHICLE OVER NOW!" Roy's VW van ccame skidding down the driveway and hit a small tree. I was in a room next to the road, a room that was piled to the ceiling with marijuana. No curtains on the windows. From their vantage point, the police officers who pulled their car over could see me. We made eye contact, and they turned their car around and left. [I called the owner of the house, and left a recorded message: "Excellent!"]
I left the stash house and returned to my art studio in Berkeley.
Soon after that, a Texan helping distribute the load of marijuana was arrested near Occidental with a quantity of the drug.
[Previously I had, at the request of the owner of the stash house, strip-searched the Texan to make sure he was not wearing a wire. He showed me his ID ('William Wright"), which he said was fake, and explained that recently he had assisted the feds in arresting some of the members of the organization that was the source of the Mexican marijuana. The members had murdered a number of people, and the Texan said the feds had agreed to let him distribute the load.]
The arresting officers convinced him to give up some of his local distributors, and a media crew made videos of him helping the police arrest the distributors. Shortly thereafter, the videos appeared on a national television series called "American Detective". Almost all mentions of the series have been removed from the internet and replaced with mentions of an entirely different television series with the same name that appeared later. Videos of the episode that showed the bust of the Texan and his distributors are absolutely impossible to find...)
(Snapshot: In early 2009, former state governor and Oakland mayor California Attorney General Jerry Brown called a press conference to announce that the owner of the stash house in Occidental had been arrested elsewhere at what was at the time said to be one of the largest MDMA labs ever seized in California.)
My "autobiography":
thewordsofjdyf333.blogspot.com/
Another version is below (click on the image to view it larger):
Synthesized IRG-->RGB cross-sampled image from one exposure. Converted camera, Steinheil 50mm lens, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
3 Neewer 180w strobes.
One to the subject's left with red gel.
One to the subject's right with green gel.
One in front and above the subject, no gel.
All 3 flashes set at half power, diffused with a soft box and triggered with a wireless on camera trigger.
It is in the municipal area of El Port de la Selva in the province of Girona, Catalonia. It has been constructed in the side of the Verdera mountain below the ruins of the castle of Sant de Verdera that had provided protection for the monastery. It offers an exceptional views over the bay of Llançà, to the north of Cap de Creus. Near the monastery Santa Creu de Rodes is the ruins of a medieval town, of which its preRomanesque style church is the only remains dedicated to Saint Helena.
The true origin of the monastery is not known, which has given rise to speculation and legend; such as its foundation by monks who disembarked in the area with the remains of Saint Peter and other saints, to save them from the Barbarian hordes that had fallen on Rome. Once the danger had passed the Pope Boniface IV commanded them to construct a monastery.The first documentation of the existence of the monastery dates 878, it being mentioned as a simple monastery cell consecrated to Saint Peter, but it is not until 945 when an independent Benedictine monastery was founded, prevailed over by an abbot. Bound to the County of Empúries it reached its maximum splendor between the XI and XII centuries until its final decay in 17th century. Its increasing importance is reflected in its status as a point of pilgrimage.
In the 17th Century XVII it was sacked in several occasions and in 1793 was deserted by the benedictine community which was transferred to Vila-sacred and finally settled in Figueres in 1809 until it was dissolved.The monastery was declared a national monument in 1930. In 1935 the Generalitat of Catalonia initiated the first restoration work. The buildings are constructed in terraces, given its location. Cloisters of XII century form the central part of the complex. Around them the rest of constructions are distributed. The Church, consecrated in the year 1022, is the best exponent of the Romanesque style and without comparison with others of its time. Detailing features plants with three bays and a vault. These are bordered by a double column with capitals influenced by the Carolingian Style. The double column support arches separating the bays. The columns and pillars have been taken from a former Roman building. The bay is splendid with large dimensions with an arch in the apse, this is continued in the two lateral bays. Under the apse is a crypt. The church synthesizes a number of original styles including Carolingian, Romanesque and Roman. The monastery is considered one of the best examples of Romanesque architecture in Catalonia. In the western facade of the monastery is a XII Century bell tower, a square shape it is influenced by the lombards from the previous century. To the side is a defensive tower, that was probably began in the X Century but finished later after several modifications.
Sagrada Família, Barcelona, España.
El Templo Expiatorio de la Sagrada Familia, conocido simplemente como la Sagrada Familia, es una basílica católica de Barcelona (España), diseñada por el arquitecto Antoni Gaudí. Iniciada en 1882, todavía está en construcción (noviembre de 2016). Es la obra maestra de Gaudí, y el máximo exponente de la arquitectura modernista catalana.
La Sagrada Familia es un reflejo de la plenitud artística de Gaudí: trabajó en ella durante la mayor parte de su carrera profesional, pero especialmente en los últimos años de su carrera, donde llegó a la culminación de su estilo naturalista, haciendo una síntesis de todas las soluciones y estilos probados hasta aquel entonces. Gaudí logró una perfecta armonía en la interrelación entre los elementos estructurales y los ornamentales, entre plástica y estética, entre función y forma, entre contenido y continente, logrando la integración de todas las artes en un todo estructurado y lógico.
La Sagrada Familia tiene planta de cruz latina, de cinco naves centrales y transepto de tres naves, y ábside con siete capillas. Ostenta tres fachadas dedicadas al Nacimiento, Pasión y Gloria de Jesús y, cuando esté concluida, tendrá 18 torres: cuatro en cada portal haciendo un total de doce por los apóstoles, cuatro sobre el crucero invocando a los evangelistas, una sobre el ábside dedicada a la Virgen y la torre-cimborio central en honor a Jesús, que alcanzará los 172,5 metros de altura. El templo dispondrá de dos sacristías junto al ábside, y de tres grandes capillas: la de la Asunción en el ábside y las del Bautismo y la Penitencia junto a la fachada principal; asimismo, estará rodeado de un claustro pensado para las procesiones y para aislar el templo del exterior. Gaudí aplicó a la Sagrada Familia un alto contenido simbólico, tanto en arquitectura como en escultura, dedicando a cada parte del templo un significado religioso.
The Expiatory Church of the Sagrada Familia, known simply as the Sagrada Familia, is a Roman Catholic basilica in Barcelona, Spain, designed by architect Antoni Gaudí. Begun in 1882, it is still under construction (November 2016). It is Gaudí's masterpiece and the greatest exponent of Catalan modernist architecture.
The Sagrada Familia is a reflection of Gaudí's artistic plenitude: he worked on it for most of his professional career, but especially in his later years, where he reached the culmination of his naturalistic style, synthesizing all the solutions and styles he had tried up to that point. Gaudí achieved perfect harmony in the interrelationship between structural and ornamental elements, between plasticity and aesthetics, between function and form, between content and container, achieving the integration of all the arts into a structured and logical whole. The Sagrada Familia has a Latin cross plan, five central naves, a three-aisled transept, and an apse with seven chapels. It boasts three façades dedicated to the Birth, Passion, and Glory of Jesus. When completed, it will have 18 towers: four at each portal, making a total of twelve for the apostles, four over the transept invoking the evangelists, one over the apse dedicated to the Virgin, and the central dome tower in honor of Jesus, which will reach 172.5 meters in height. The temple will have two sacristies next to the apse and three large chapels: the Assumption Chapel in the apse and the Baptism and Penance Chapels next to the main façade. It will also be surrounded by a cloister designed for processions and to isolate the temple from the exterior. Gaudí applied a highly symbolic content to the Sagrada Familia, both in architecture and sculpture, dedicating each part of the temple to a religious significance.
Buncombe County, NC.
The white dots on the lawn at lower right are buttercups.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter. Worked up in Pixelbender and Photoshop.
Here's the Peter Rabbit version of the North American and Pelican Nebulas with Mr. Mcgregor's hand in the upper right, trying (and failing) to grab Peter Rabbit in the lower left... who also appears to be smiling about it...fun with astronomy.
Hope everyone enjoys. I finally took the plunge to a dedicated cooled CMOS astrophotography camera and couldn't be more thrilled with this first photo. Narrowband imaging and cooled sensors completely open up the door to whats possible through light pollution.
Here's the North American Nebula and most of the Pelican Nebula (NGC7000 and IC5070) in the Constellation Cygnus from the front porch of our house in both the Hubble color palette and more natural HOS palette (second photo). This is a large area of emission nebulosity stretching about 2.5 degrees east of the prominent star Deneb. This area is highly studied due to its large amount of active star formation.
Image specs:
Zwo ASI294MC color camera, Meade 70mm Quadruplet APO, Skywatcher EQ6-R mount, Orion 50mm guidescope and Starshoot Autoguider.
30 x 400" Ha Frames (3hrs,20min) Zwo 7nm ha filter.
30 Darks, 35 flats, 35 dark flats.
17 x 900" Oiii Frames (4hrs) Zwo 7nm oiii filter.
30 Darks, 40 flats, 40 dark flats.
Captured using APT, stacked in DSS, processed in Startools, final refinements in Lightroom CC. Hubble palette is green = ha, blue = oiii, and synthesized red layer. HOS palette is red = ha, blue = oiii, and synthesized green layer. .
Wasatch County, UT.
Synthesized IRG-->RGB cross-sampled image from a single exposure. Converted camera, Tiffen #12 filter, Steinheil 50mm lens. Worked up in Pixelbender and Photoshop.
This portrait of Professor Hans Bethe is displayed in Los Alamos. In those days, he was the head of the Manhattan Project's theoretical group. He was a Noble Prize winning physicist who determined the nuclear source of the sun's energy. The sun is mainly composed of hydrogen nuclei. Hans Bethe identified the process by which the sun synthesizes the elements of ascending atomic numbers greater than that of hydrogen. He showed it was based on a catalytic cycle involving nuclear elements up through carbon nuclei. I was fortunate to have him review my work in later years.
After I received my Ph.D. in Nuclear Physics from M.I.T. in 1965, I worked for a company in a town near M.I.T.. The founder, Arthur Kantrowitz, was a Professor at Cornell, as was Hans Bethe. Hans came each month as a consultant. He reviewed significant work and gave his thoughts and recommendations. I presented work at Committee meetings for him to review. He was pleased with my group's results. I spoke with him again a few years later when he gave a lecture at The Weizmann Institute of Science in Rehovot, Israel. His lecture was about the creation of the elements above hydrogen in the sun that are observed in the discrete spectral lines in the sun's continuous light spectrum. The nuclear creation process involves a catalytic nuclear cycle from hydrogen up through carbon. That was the work for which he had received the Nobel Prize in Physics years earlier. Needless to say, it was a wonderful presentation.
Afterwards, I went up to talk to him. I told him that I was struck with the similarities between his presentation and the work we were doing, that he had reviewed at AERL. He said “I was often struck by the very same thought.”
Needless to say, I was pleased, actually thrilled, that he had good memories of me.
PLEASE, no multi invitations, glitters or self promotion in your comments. My photos are FREE for anyone to use, just give me credit and it would be nice if you let me know. Thanks
No pictures are allowed in the Sistine Chapel, they just appeared in the camera..... (I have to upload 3 sets)
One of the most famous places in the world, the Sistine Chapel is the site where the conclave for the election of the popes and other solemn pontifical ceremonies are held. Built between 1475 and 1481, the chapel takes its name from Pope Sixtus IV, who commissioned it.
The frescoes on the long walls illustrate parallel events in the Lives of Moses and Christ and constitute a complex of extraordinary interest executed between 1481 and 1483 by Perugino, Botticelli, Cosimo Rosselli and Domenico Ghirlandaio, with their respective groups of assistants, who included Pinturicchio, Piero di Cosimo and others; later Luca Signorelli also joined the group.
The barrel-vaulted ceiling is entirely covered by the famous frescoes which Michelangelo painted between 1508 and 1512 for Julius II. The original design was only to have represented the Apostles, but was modified at the artist's insistence to encompass an enormously complex iconographic theme which may be synthesized as the representation of mankind waiting for the coming of the Messiah. More than twenty years later, Michelangelo was summoned back by Paul III (1534-49) to paint the Last Judgement on the wall behind the altar. He worked on it from 1536 to 1541.
Argentina, Buenos Aires: views from plaza San MCABA - Ciudad Autonoma de Buenos Aires
Is it possible to synthesize the soul of a city through photographs of its buildings? The work of Michele Molinari heads in that direction, overlooking the Buenos Aires of historic monuments and focusing on the common dwellings that stud the skyline of the porteña city. They are boundary lines by day and by night, suburban intersections trying to spur on the vertical expansion of the city. Molinari’s interesting experiment is to go back to the same places after a period of time to crystalize the changes and witness the immanence of certain corners of the urban fabric. – A. Trabucco
How emotional it is to admire Buenos Aires at dusk. The passers-by are hurrying along the sidewalks and distractedly look at the camera lens. With curious or perplexed glances. […] The essence of the obscurity is easier to enjoy in the quieter neighborhoods. […] The sense of calm even appears to reach the historic center in one of the few photos of monumental Buenos Aires included in the book. The circle closes. Every splintered scrap of the urban fabric is recomposed under the protective wing of the night. – A. Mauri
CABA - Ciudad Autonoma de Buenos Aires is a photobook. Photographs and essay by Michele Molinari, more essays by Andrea Mauri and Alessandro Trabucco. [essays are in English, Spanish and Italian]
CABA comes in 2 printed editions by Blurb, Pocket Edition [7x7in, 18x18cm, 132 pages, Standard Photo paper, Flexible High-Gloss Laminated cover, 106 color photos] and Deluxe Edition [8x10in, 20x25cm, 134 pages, ProLine Pearl Photo paper, Hardcover with Dust Jacket, 107 color photos], and one Digital Edition by Apple iBooks that features 107 + 7 bonus color photos.
CABA won Bronze Award at TIFA2020 Book/Documentary
Find it here: michelemolinari.info/2020/07/25/caba/
“I have a masters in transpersonal psychology so I study shamanism and plant based medicine. I’m offering a more shamanic healing worldview to everything I’m doing. Everything is looking at the inner ecology as a revolutionary standpoint. I’m looking at meditation and a technology. I synthesize and I’m a visionary. I’m ushering in the view of the human as this powerful entity with psycho-spiritual power. With that view comes the opportunity for transformation.”
“What opened you up to all this information?”
“I was connecting with Joanna Macy and studying Buddhism with this group and I’m realizing meditation has actual power. It’s a technology. My grandfather was also a minister so I grew up with the mystical. I learned the word is power when spoken. I’m also a Pisces so I’m very sensitive. I’m done a vision quest with the Lakota so that opened me up. That really clarified who I was and my mission. Also flying through the Pleiades with some brothers and having these direct experiences has been really powerful. I’ve experienced so many different worlds.”
“What were the Pleiades like?”
“We were flying through all the purple pyramids and they were downloading me with all this information. I learned we have different soul pieces that are like a lineage. Not in the way we think of it on the Earth. But more soul lineage, more energetic. Now I’m also remembering and releasing a lot of Atlantian technology. Color, frequencies. In the next 3-4 years when the planet gets the true Earth history....things are gonna really shift. Different beings from different dimensions are here, have been here, are responsible for the seeding of humanity on the Earth.”
#soulsofpeacefits (2/2)
Marc Chagall born Moishe Shagal; 6 July [O.S. 24 June] 1887 – 28 March 1985) was a Russian-French artist of Belarusian Jewish origin. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as "not the dream of one people but of all humanity"). According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's pre-eminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN and the Art Institute of Chicago and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he travelled between Saint Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern Europe and Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1923.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk."[7] "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is". All Saints' Church, Tudeley, UK (1963–1978)[edit]
All Saints' Church, Tudeley is the only church in the world to have all its twelve windows decorated by Chagall.[52] The other three religious buildings with complete sets of Chagall windows are the Hadassah Medical Center synagogue, the Chapel of Le Saillant, Limousin, and the Union Church of Pocantico Hills, New York.
The windows at Tudeley were commissioned by Sir Henry and Lady Rosemary d'Avigdor-Goldsmid as a memorial tribute to their daughter Sarah, who died in 1963 aged 21 in a sailing accident off Rye. When Chagall arrived for the dedication of the east window in 1967, and saw the church for the first time, he exclaimed "C'est magnifique! Je les ferai tous!" ("It's beautiful! I will do them all!") Over the next ten years Chagall designed the remaining eleven windows, made again in collaboration with the glassworker Charles Marq in his workshop at Reims in northern France. The last windows were installed in 1985, just before Chagall's death.
Oil on canvas; 162 x 114.4 cm.
Marc Zakharovich Chagall was a Russian-French artist.[1]:21 Art critic Robert Hughes referred to Chagall as "the quintessential Jewish artist of the twentieth century" (though Chagall saw his work as 'not the dream of one people but of all humanity'). An early modernist, he was associated with several major artistic styles and created works in virtually every artistic medium, including painting, book illustrations, stained glass, stage sets, ceramic, tapestries and fine art prints.
According to art historian Michael J. Lewis, Chagall was considered to be "the last survivor of the first generation of European modernists". For decades, he "had also been respected as the world's preeminent Jewish artist". Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and the Jerusalem Windows in Israel. He also did large-scale paintings, including part of the ceiling of the Paris Opéra.
Before World War I, he traveled between St. Petersburg, Paris, and Berlin. During this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He spent the wartime years in Soviet Belarus, becoming one of the country's most distinguished artists and a member of the modernist avant-garde, founding the Vitebsk Arts College before leaving again for Paris in 1922.
He had two basic reputations, writes Lewis: as a pioneer of modernism and as a major Jewish artist. He experienced modernism's "golden age" in Paris, where "he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism". Yet throughout these phases of his style "he remained most emphatically a Jewish artist, whose work was one long dreamy reverie of life in his native village of Vitebsk."[3] "When Matisse dies," Pablo Picasso remarked in the 1950s, "Chagall will be the only painter left who understands what colour really is".[4]
MYRIAD LITTLE ONES
I won't ask for big joys
They are so few
So far apart
I'll take the myriad little ones
Like shattered bits of broken glass
That spark and glint in the dark
--Lilly Grebanier, Jan 1, 1912 - May 23, 2005
This is one of my favorite pictures of my mother, photographed by my father around 1940. She wrote the poem above in 1991, a half-century after this picture was taken. My guess is that it took that much additional experience for her to be able to synthesize and express such a clear and concise statement of the basis of her joyous attitude toward life. However, I think the picture itself expresses a great deal. I love the goldenrod on her shoulder--so typical of her to see the beauty in a common weed and turn it into an adornment. And a certain, typical ruthlessness too--poor goldenrod!
This is the first year I will not be calling her to wish her Happy New Year and Happy Birthday. I do not grieve too much for her--that doesn't seem entirely fitting as a memorial for someone who had such a positive attitude. She herself said that her life had been a full and good one. I cannot disagree. But, of course, I often miss her, especially at times like this.
I cannot pick up the phone to call her, and find myself playing on Flickr instead.
Happy Birthday! Happy New Year!
(December 31, 2005)